Musical Allusions in Finnegans Wake

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Bucureşti 2013

Press Release

Edited by C. George Sandulescu. Redacted by Lidia Vianu.

In three volumes: ISBN 978-606-8366-48-7; 978-606-8366-49-4; 978-606-8366-50-0

Finnegans Wake has many names in it: they can be found in the linearized version of Adaline Glasheen’s Third Census that Contemporary Literature Press has just published. Finnegans Wake also has songs in it. Many songs: titles, lines, mere words, or simply rhythms that are detected instinctively by those who happen to see them. For those who do not, we are now publishing a book that aims at an inventory of all the music in the book: it is a heavily

processed version of J. C. Hodgart and Mabel P. Worthington’s Song in the Works of James Joyce, published in 1959. The songs, too, point to something. They are doors that lead to meaning. Such connections between words, or just sounds, rather, and a large number of things that could only with difficulty be named, are the very essence of James Joyce’s Finnegans Wake. Musical Allusions in Finnegans Wake is, however, different from the other books we have published so far in our series of Joyce Lexicography. Those who know that Joyce was one of the best Irish tenors, yet he gave up singing in favour of writing, realize why. The connections between certain words and other words, whether titles of books, excerpts from them, names of authors, or simply words from another language are, eventually, a matter of spoken sounds. Hodgart and Worthington resort to using music instead. Surprisingly, this Lexicon, unlike all the others, almost ignores the different languages, which keep combining in Joyce’s book, and producing the strangest units of meaning. Some of the tunes are in Latin, some in French, some in Italian or German, but the vast majority are in English. Whether ballads, musical comedies, or opera, they can be recognized much more easily, and quite safely, we think, by many readers. Once you see them identified in this Lexicon, you will find little reason to disagree with Hodgart and Worthington, anyway. As a matter of fact, Joyce himself

seems to have prepared his readers to recognize the songs: he repeatedly used exclamation marks, italics, either before or after them... The songs Joyce uses are not sophisticated at all. They are nursery rhymes, well-known English tunes usually taken over and made famous by Americans, more than famous Italian or French songs that everyone knows, and may have hummed mechanically at one time or another. We have taken the liberty of sending the reader to the melodies themselves, which abound on the Internet today ― a piece of gadgetry Joyce did not even dream of when all he had at hand was his radio set, or his own recollection of songs once sung or merely heard. The world of meanings that flow from these songs depends on each of us. As Henry James once put it in the famous preface to The Portrait of a Lady that aimed at defining the advent of Modernist Fiction, some will see more where others see less. We can only hope that these three volumes of Musical Allusions in Finnegans Wake will make the reader want to discover more. Once started, you will understand why and how Joyce’s words undoubtedly connect very closely with what is going on in the world today ― almost a century and a half after his birth.

C. George Sandulescu and Lidia Vianu

ISBN: 978-606-8366-49-4

© The University of Bucharest Cover Design, Illustrations, and overall Layout by Lidia Vianu © C. George Sandulescu Subediting : Alexandra Munteanu. Proofreading: Alexandra Munteanu, Violeta Baroană. © Matthew J. C. Hodgart and Mabel P. Worthington Typing: Violeta Baroană , Irina Borţoi, Sabina Cârnu, Daniela Chiriţă, Ana Dragomir, Iulia © Ole Vinding Mareş, Costin Mazilu, Alexandra Oancea, Ciprian Peia, Silvia Popa, Diana Voicu. IT Expertise: Simona Sămulescu, Cristina Petrescu. © Roman Jakobson Publicity: Violeta Baroană. Logo: Manuela Stancu. Acknowledgments N.B. The content of Column Four is aimed as both Cross Reference and Statistic Matthew J. C. Hodgart and Mabel P. Worthington: Song in the Works of Evidence. James Joyce. Published for Temple University Publications by Columbia N.B. This Lexicographic Series as a whole is primarily meant as teaching material University Press, New York 1959. for the larger half of Continental Europe, which, for practically three quarters of a

century, was deprived of ready access to the experimental fiction and poetry of the Ole Vinding: ‘James Joyce in Copenhagen’, 1936. world. All Western literary criticism was also banned. Hence, the imperative

necessity of re-issuing a considerable amount of post-war discussions. Roman Jakobson: ‘Coup d’oeil sur le développement de la sémiotique’. The Publisher. Opening address, in Seymour Chatman, Umberto Eco, Jean M Klinkenberg: A Semiotic Landscape. Panorama sémiotique Proceedings of the First If you want to have all the information you need about Finnegans Wake, including Congress of the International Association for Semiotic Studies, Milan June the full text of Finnegans Wake line-numbered, go to the personal site Sandulescu 1974 / Actes du premier congrès de l’association Internationale de Online, at the following internet address: Sémiotique, Milan juin 1974. De Gruyter, 1979. http://sandulescu.perso.monaco.mc/

Joyce Lexicography Volume Twenty-Two

Musical Allusions in Finnegans Wake ALL Exemplified

FW Part Two

Edited by C. George Sandulescu

Redactde by Lidia Vianu

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 1 ______

Table of Contents

C. George Sandulescu Le signe est un renvoi. p. 8 The Sign is a Renvoi.

Musical Allusions in Finnegans Wake. 65 FW Parts Two, Three and Four. Episode Nine 66 Episode Ten 111 Episode Eleven 145 Episode Twelve 222

Appendix One Ole Vinding: ‘James Joyce in Copenhagen.’ 236 Appendix Two Roman Jakobson: ‘Coup d’oeil sur le développement de la sémiotique.’ 263 Appendix Three The Times of London, Tuesday May 7 2013 (first page). 291

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 2 ______

We have so far published in this James Joyce Lexicography Series:

Volume: Title: Number Launched on: of Pages:

Vol. 1. The Romanian Lexicon of Finnegans Wake. 455pp 11 November 2011 http://editura.mttlc.ro/sandulescu.lexicon-of-romanian-in-FW.html

Vol. 2. Helmut Bonheim’s German Lexicon of Finnegans Wake. 217pp 7 December 2011 http://editura.mttlc.ro/Helmut.Bonheim-Lexicon-of-the-German-in-FW.html

Vol. 3. A Lexicon of Common Scandinavian in Finnegans Wake. 195pp 13 January 2012 http://editura.mttlc.ro/C-G.Sandulescu-A-Lexicon-of-Common-Scandinavian-in- FW.html

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 3 ______

Vol. 4. A Lexicon of Allusions and Motifs in Finnegans Wake. 263pp 11 February 2012 http://editura.mttlc.ro/G.Sandulescu-Lexicon-of-Allusions-and- Motifs-in-FW.html

Vol. 5. A Lexicon of “Small” Languages in Finnegans Wake. 237pp 7 March 2012 Dedicated to Stephen J. Joyce. http://editura.mttlc.ro/sandulescu-small-languages-fw.html

Vol. 6. A Total Lexicon of Part Four of Finnegans Wake. 411pp 31 March 2012 http://editura.mttlc.ro/sandulescu-total-lexicon-fw.html

Vol. 7. UnEnglish English in Finnegans Wake. The First Hundred 453pp 27 April 2012 Pages. Pages 003 to 103. Dedicated to Clive Hart. http://editura.mttlc.ro/sandulescu-unenglish-fw-volume-one.html

Vol. 8. UnEnglish English in Finnegans Wake. The Second Hundred 280pp 14 May 2012 Pages. Pages 104 to 216.

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 4 ______

http://editura.mttlc.ro/sandulescu-unenglish-fw-volume-two.html

Vol. 9. UnEnglish English in Finnegans Wake. Part Two of the Book. 516pp 7 June 2012 Pages 219 to 399. http://editura.mttlc.ro/sandulescu-unenglish-fw-volume-three.html

Vol. 10. UnEnglish English in Finnegans Wake. The Last Two 563pp 7 July 2012 Hundred Pages. Parts Three and Four of Finnegans Wake. From FW page 403 to FW page 628. http://editura.mttlc.ro/sandulescu-unenglish-fw-volume-four.html

Vol. 11. Literary Allusions in Finnegans Wake. 327pp 23 July 2012 Dedicated to the Memory of Anthony Burgess. http://editura.mttlc.ro/sandulescu-literary-allusions.html

Vol. 12. Finnegans Wake Motifs I. The First 186 Motifs from Letter A 348pp 7 September 2012 to Letter F.

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 5 ______

http://editura.mttlc.ro/sandulescu-finnegans-wake-motifs-1.html

Vol. 13. Finnegans Wake Motifs II. The Middle 286 Motifs from 458pp 7 September 2012 Letter F to Letter P. http://editura.mttlc.ro/sandulescu-finnegans-wake-motifs-2.html

Vol. 14. Finnegans Wake Motifs III. The Last 151 Motifs. from Letter 310pp 7 September 2012 Q to the end. http://editura.mttlc.ro/sandulescu-finnegans-wake-motifs-3.html

Vol. 15. Finnegans Wake without Tears. The Honuphrius & A Few 248pp 7 November 2012 other Interludes, paraphrased for the UnEducated. http://editura.mttlc.ro/sandulescu-the-honuphrius.html

Vol. 16. Joyce’s Dublin English in the Wake. 255pp 29 November 2012 http://editura.mttlc.ro/sandulescu-dublin-english.html

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 6 ______

Vol. 17. Adaline Glasheen’s Third Census Linearized: A Grid. FW Part 269pp 15 April 2013 One A. http://editura.mttlc.ro/sandulescu-third-census-one-a.html

Vol. 18. Adaline Glasheen’s Third Census Linearized: A Grid. FW Part 241pp 15 April 2013 One B. http://editura.mttlc.ro/sandulescu-third-census-one-b.html

Vol. 19. Adaline Glasheen’s Third Census Linearized: A Grid. FW Part 466pp 15 April 2013 Two. http://editura.mttlc.ro/sandulescu-third-census-two.html

Vol. 20. Adaline Glasheen’s Third Census Linearized: A Grid. FW Parts 522pp 15 April 2013 Three and Four. http://editura.mttlc.ro/sandulescu-third-census-three-four.html

Vol. 21. Musical Allusions in Finnegans Wake. FW Part One. All 333pp 10 May 2013

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 7 ______

Exemplified. http://editura.mttlc.ro/sandulescu-musical-allusions.html

Vol. 22. Musical Allusions in Finnegans Wake. FW Part Two. All Exemplified. http://editura.mttlc.ro/sandulescu-musical-allusions.html 295pp 10 May 2013

Vol. 23. Musical Allusions in Finnegans Wake. FW Parts Three and Four. All Exemplified. http://editura.mttlc.ro/sandulescu-musical-allusions.html 305pp 10 May 2013

You are kindly asked to address your comments, suggestions, and criticism to the Publisher: [email protected]

If you want to have all the information you need about Finnegans Wake, including the full text of Finnegans Wake line-numbered, go to the personal site Sandulescu Online, at the following internet address: http://sandulescu.perso.monaco.mc/

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 8 ______

‘Le signe est un renvoi’. The Sign Is a Renvoi.

“If one had to name a character in Finnegans Wake, it would be just an old man.”

James Joyce said that to Ole Vinding in his 1936 Copenhagen interview (no cats around yet!) Ellmann (1959 : 709)

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 9 ______

1. The Multi-sign.

There is a well-known definition of the Sign, given by Roman Jakobson almost half a century ago. And when he gave that definition at The First Congress of Semiotics, which took place in Milan, organized by Umberto Eco in 1974, the first thing I asked him was: ‘Why did you give the talk and

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 10 ______the definition in the French language, instead of the English language? Very few here at this Congress do understand French…’ And Roman Jakobson candidly replied: ‘Simply because the English language does not possess an exact equivalent for the word Renvoi. Several other languages do!’ And it is very true that other languages, in addition to French, do have an equivalent. That is the case, for instance,

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 11 ______with the Scandinavian languages, where the word in Swedish is hänvisning, and the Romanian language as well, where the exact equivalent of the French word Renvoi is the word trimitere. (Which in English literally means ‘sending’!) This is what poor Jim Atherton meant in his book about Literary Allusions, but he only had the English word reference at his disposal… which is not at all the same thing, for subtler researchers.)

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 12 ______

That en effet is the Sign! It sends something to something else. It sends somebody to somebody else. It establishes a connection between one thing and another. Between one item and another. The word is a sign, for instance, because it establishes a connection between the sounds of a word, or the lettering of a word, on the one hand, and the meaning of that particular word, on the other hand. Read Ferdinand de Saussure (1907/1916) for further details…

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 13 ______

As Roman Jakobson had so rightly pointed out, it is only the phoneme that is not a sign within the frame of reference of his own theory. Mais revenons à nos moutons. Dans ce cas, nos moutons sont Hodgart and Worthington! And in this case we have a formidable instance of what I prefer to call a multi-sign, or a complex sign: certain groups of words send you to music in the first place. They send you

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 14 ______further to the title of a piece of music, in the second place. The title of that piece of music sends you further again, to the music itself. And the music is of various kinds. In the first place, the sending is the visualizing of the musical notation. In the second place, that musical notation sends you further to the singing of it, and to the playing of it on one instrument or another.

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 15 ______

So, a few words in Finnegans Wake may send you to a famous song, and any famous song is a multi-text, and as such it is a multi-sign.

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 16 ______

2. Music Worms & Language Worms.

This is not something new in Finnegans Wake. It had happened in the book that Joyce had written before it, and that book was called Ulysses! And in Ulysses, Leopold Bloom has a favourite earworm whenever he thinks of the profession of his wife. For whenever he does so, the earworm La ci darem la mano may send you further to ever so

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 17 ______many things ― living or not alive: the wife, the lover of the wife, the words in Italian, the spelling of these words in Italian, the approximative singing of the spelling of the Italian words, and finally, the possible correction that he might ask somebody more knowledgeable than him about any of the musical or linguistic elements he has doubts about.

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 18 ______

No Joyce scholar should forget that James Joyce himself was a famous tenor, who, in his youth, took part in a musical competition, and came out second after the more than famous Irish tenor John McCormack. But Joyce did not want to sing. He was aware that creative writing was far more important than the mere interpretation of the words of others.

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 19 ______

A writer ― a creative genius in the world of letters ― is far superior to a mere interpreter, even when the mere interpreter may happen to be either Arthur Rubinstein or even Frank Sinatra! Joyce was acutely aware that creativity was far superior to mere interpretiveness. Though nowadays, interpreters make far more money than the creators themselves. (Just think how very poor Joyce himself used to be… particularly when you happen to think of

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 20 ______plump actor Gérard Depardieu plus President Putin plus The Président of France!) And after having finished Ulysses in 1922, and having already started on Finnegans Wake, he made the great discovery that he might be able to turn the words of others into his own creative words. And that is why there are so many songs in Finnegans Wake. And that is why there are so many literary quotations in Finnegans Wake. And that is

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 21 ______why there are so many snippets of foreign and alien languages in Finnegans Wake. Looking at it that way, he is not far at all from what the Romanian poet Tristan Tzara had in mind, more or less in the same place, which was Paris, and more or less at the same time, which was the years after the First World War. But there is a colossal difference between James Joyce and Tristan Tzara: Joyce’s only interest was in the doing of it. Tristan Tzara’s major

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 22 ______interest was in the mere theorizing about it! In the hope of creating a great school of thought.

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 23 ______

3. The Stream-of-consciousness.

But the earworm, in various forms and shapes, was in the air already. It was, in effect, the very Spirit of the Age! It was quite akin to the stream-of-consciousness, emerging from William James, and rallying Edouard Dujardin, Dorothy Richardson, Virginia Woolf, Marcel Proust, William Faulkner, and God knows who else… For all

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 24 ______stream-of-consciousness carries earworms at one stage or another, in one form or another. And the Hodgart & Worthington book proves beyond a shade of doubt that James Joyce makes brilliant use of this phenomenon. In an age when there was no television, no refrigerator, no hoover, no twitter, no facebook, no youtube, no Internet, and no mobile, in the age when he barely had the radio set to listen to at night, when his blindness was no

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 25 ______longer a handicap, he managed to achieve the most formidable thing in the world, which makes us all feel ‘so’ pedestrian by the side of him! It is called Finnegans Wake. It is an obligation for everybody, great or small in the field of Joyce studies, to remember that there is a strong possibility that the whole of Finnegans Wake is a mere interior monologue ― paving the way for the more than famous Samuel Beckett monologues of, for instance, Malone

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 26 ______

Dies, but lots of others, too. It is, in a sense, the interior monologue of an old man— as Joyce himself declares in his 1936 Copenhagen interview with Ole Vinding (q.v.) —, suffering from the incurable disease of a vast multiplicity of earworms, in all his possible and impossible ears. He is even called so, for The Main Character is called, by Joyce himself, Mr EarWorm… who would have become Comrade EarWorm if the Soviet Union would have had the upper

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 27 ______hand in this pitiful world of ours! For the word Earwicker is a no more than thin disguise for the ‘earworm.’ Whether he was actually called Master EarWorm, Mr EarWorm, Comrade EarWorm, or Sir EarWorm! (Remember that Clive Hart’s Motifs are ultimately interpretable as earworms too—if looked at from another point of view, namely that of the character himself !)

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 28 ______

And there are in the old man’s interior monologue a lot of facsimiles of the speech of others ― of the discourse, for instance, of Mrs EarWorm. Of the rowdy discourse of their two sons. EarWorm son Number One, and EarWorm son Number Two, in exactly the same way in which, in the country of The Netherlands, or Holland, or les Pays Bas today, the word ‘parent’ has disappeared, and in a legal marriage between two lesbians or two male homosexuals

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 29 ______who decide to adopt one or several children, they legally and officially become Parent Number One and Parent Number Two. (It is worth remembering that James Aloysus Joyce had only one son, but Master Earwicker has two! How come? Wherefrom? What for? Perhaps for the acute need of interlocution. Who knows?)

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 30 ______

There is a clear possibility that older songs listed in this book by Hodgart and Worthington are bits and pieces of the old man’s monologue, humming or chanting one song or another to himself (very much like Beckett’s Krapp’s Last Tape), from ‘Danny Boy’ to ‘Humpty Dumpty’, or to ever so many other songs from no end of European countries, including America as an illegitimate offspring, or little sister, of the Old Continent. Hence, the girl in the picture of

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 31 ______the family as well… Quite real in real life under the Italian name of Lucia—the most pagan Saint of the whole of Scandinavia, so festively celebrated today in mid- December—exactly ten days before Christmas! With lots of strong booze from eight in the morning!

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 32 ______

4. The Injunction!

The express injunction of these two authors—Sandulescu & Vianu-- who have had the cheek and impertinence to rewrite the celebrated book by Hodgart and Worthington is simple: “Try to be James Joyce himself! Try to be James Joyce himself, surrounded by his whole family! (Around 1936, when Stephen was around too!) Try to live in the days

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 33 ______between the two World Wars, a time which was, according to ever so many authors, the most beautiful and productive period the whole world is likely to have ever had... Try to listen to these songs! Try to learn these songs, Try to sing these songs, Try to turn the more famous ones into your own earworms, and hum them on the way to school, on the way to the university where you teach, on the way to the Government office where you collect your unemployment

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 34 ______benefit. Even the money was different in the days of Joyce. Think in the money which existed before the time when the financial monster ― or dinosaur, if you want ― nowadays called ‘the Euro’, whose sign is a strange €psilon €, which

(both things!) never existed. Evoke that past in the greatest detail that you are able to!

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 35 ______

Just because Finnegans Wake does envisage the mental mess the whole of Europe finds itself in at the moment, with the United States playing a modest second fiddle to one disaster or another. Many literary critics over the years have considered Finnegans Wake to be, indeed, such a catastrophe, in the world of letters. Well, I can only conclude that the world of today has two catastrophes, for better or for worse: the world itself is one disaster, and Finnegans Wake may be

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 36 ______the other! And all intellectuals, without exception, Joyce scholars included, are in duty bound to cope with both of them. And that is no easy job at all. All the postgraduate students involved in the production of these twenty-odd volumes of lexicography have felt it on their own skins. And the rewriting authors, too. Good luck to you all, with your reading of these musical and linguistic lexicographies! Provisionally called

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 37 ______earworms. And may God give you as many earworms, of all kinds, as there happen to exist on the face of this modest Earth.

Written with blood on the Greek Orthodox Easter Night of the Year 13 of the Glorious Age of our Most Blessed €uro, in the very close proximity of the Monte Carlo Bank, Never Yet Broken Into!

C. George Sandulescu

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 38 ______

Note One: Ole Vinding, 1936

The epigraph is extracted from the interview given by James Joyce to Ole Vinding in Copehagen in 1936. It was republished in full in Willard Potts, ed., in his book entitled Portraits of the Artist in Exile, Seattle, 1979, from page 139 to page 152. The interview was entitled “James

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 39 ______

Joyce in Copenhagen”. There is the clear assertion there that the whole of Finnegans Wake is spoken by one single character—perhaps Stephen Dedalus grown old and grey. Why has such a hypothesis never been taken seriously, even when it had been said by the author himself, just a few years before he died? It is not at all the first time that such deliberate disregard does occur in Joyce Studies.

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 40 ______

Note Two: Roman Jakobson, 1974

A Semiotic Landscape. Panorama sémiotique

Roman Jakobson: ‘Coup d’oeil sur le développement de la sémiotique’. Opening address, in Seymour Chatman, Umberto Eco, Jean M Klinkenberg: A Semiotic Landscape. Panorama sémiotique Proceedings of the First Congress of the International Association for Semiotic Studies, Milan June 1974 / Actes du premier congrès de l’association Internationale de Sémiotique, Milan juin 1974. De Gruyter, 1979.

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 41 ______

Note Three: Clive Hart, 1962

Clive Hart, Introduction to an Index of Motifs. Structure and Motif in Finnegan’s Wake, pp. 211-212

There is virtually no limit to the number and variety of ways in which the multitude of leitmotivs in Finnegans Wake might be classified and arranged, for in breaking down the process of composition to the organisation of such wisps of phrases Joyce

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 42 ______was clearly looking for the maximum possible flexibility of design. I made several attempts to classify the motifs listed here but the results never proved to be particularly useful. A simple alphabetical index is therefore offered, although in the case of a few big motif-complexes a separate grouped list is provided. Motifs based on proverbs, catch-phrases and the like are usually listed in their normalised forms.

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 43 ______

With a few exceptions this index omits (1) all song-motifs, and (2) all ‘literary’ motifs, i.e. quotations from works of literature. Some single words function as independent leitmotivs and, of course, a large part of Finnegans Wake is made up of motif- fragments — words and syllables derived from important motifs but too fleeting in themselves to be called motif-statements. The index makes no attempt to list any but the most important single- word motifs and motif-fragments. Similarly, I have excluded the

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 44 ______hosts of words and symbols that always hunt in couples but otherwise have no special leitmotivistic significance, such as ‘holly and ivy’. Such words and word-pairs can most easily be traced with the aid of my Concordance. Some of the repeated common expressions which appear in the list may have little practical function as leitmotivs but since the motif-structure of the book is always of at least theoretical importance I have thought it best to include everything that

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 45 ______could be said to have the shape of a leitmotiv. Nevertheless, I do not claim that, even with regard to major motifs, the index is in any way exhaustive. The list of items has grown almost week by week as my understanding of the text has deepened, but I am still a very long way from understanding all that Joyce put into Finnegans Wake and other readers will certainly have noticed many correspondences to which I have remained blind. Doubtful references are placed in parentheses. Most of the motifs

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 46 ______are self-explanatory in context but I have provided brief notes and references where it seems useful to do so. The significance of a number of the major motifs is obscure to me. In these cases I have added a note to that effect.

(A very full list of songs is available in M.J.C. Hodgart and M.P. Worthington, Song in the Works of James Joyce, New York, 1959.

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 47 ______

For literary allusions See James Atherton’s Appendix, executed in 1959 by Fritz Senn-Baldinger from Zurich.)

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 48 ______

Note Four: standard definition of ‘earworm’.

http://en.wikipedia.org/wiki/Earworm

An earworm is a piece of music that sticks in one’s mind so that one seems to hear it, even when it is not being played. Other phrases used to describe this include musical imagery repetition and involuntary musical imagery. The phenomenon is common in normal life and so may be distinguished from brain damage that results in palinacousis. The word earworm is a calque from the German Ohrwurm.[1]

It is a type of song that typically has a high, upbeat melody and repetitive lyrics that verge between catchy and annoying. Earworms are also referred as “stuck song syndrome”, “involuntary musical imagery” (INMIs),[2][3] “brainworms”, or “sticky music”.[4] Researchers who have studied and written about the phenomenon include Theodor Reik,[5] Sean Bennett,[6] Oliver Sacks,[4] Daniel Levitin,[7] James Kellaris,[8] Philip Beaman, [9] Vicky Williamson,[10] and, in a more theoretical perspective, Peter Szendy.[11]

One reason that this occurs is that melodic music tends to have a rhythm that repeats. This cyclical nature may cause endless repetition, unless some way to achieve a climax that breaks the cycle is found.

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 49 ______

George Sandulescu adds: I for one, had language worms, together with Joyce, in addition to the music worms: I used to repeat “Paramaribo!” hundreds of times, before the age of six, and “Ouagadougou” and “ouistiti” were also my fixations, when I had nothing to do. I could not get rid of them for hours! On my way to primary school I used to repeat “guadalquivir guadiana tago duero minho” hundreds of times, in the hope that the repetition of that would bring me

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 50 ______luck during the school hours… I even dreamt of it. And a little later, when learning Italian, I liked to repeat with simultaneous fascination and repulsion “l’attaccapanni” and “paracadudista”. A word I hated most in Italian was “cibo”, which I used to repeat endlessly, and could not get rid of it, in all my idiosyncratic variants of hate “ciba/cibu/cibi/ cibe”. The paradox was that the words I hated always used to surface in my mind far more often than the ones I cared for! I love many

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 51 ______words in all languages, and I hate many words in all languages, but I keep repeating them indiscriminately, whenever my semi- conscious mind plays tricks on me! Once when my teacher of Italian was ill, her replacement—who hated her—dictated the following text that I used to adore ever after, and repeat endlessly in very poor Italian: “La professoressa Falli ha un febrone di cavallo: diciasette dottori lo hanno esaminato per ogni versi…”. I loved the last three words—’per ogni versi’—

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 52 ______the image of 17 doctors undressing my female teacher at the same time… That helped my earword formation! And its endless repetition I rather enjoyed, giving me so much confidence in my Italian… So, I even went as far as vocalizing it! Also, I did not mind its automatic repetition in my mind, as the lady teacher in question happened to be rather attractive, and fairly young…

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 53 ______

Note Five: James Atherton. 1959.

The Books at the Wake.(the opening lines)

1.1. Perhaps—this must be the first word on such a subject—a final literary evaluation of Finnegans Wake will never be made, for any such evaluation must follow and be based upon a complete understanding of the book. No such understanding has yet been

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 54 ______reached and none seems to be in sight in spite of the increasing flow of illustrative material. 1.2. The article on James Joyce in the Encyclopaedia Britannica correctly describes Finnegans Wake as ‘the extreme of obscurity in modern literature’, and might have added that it is not only extremely obscure but extremely long. Joyce worked at it for over seventeen years, often spending more than seventeen hours a day in composition and revision. To read through the book once is a

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 55 ______full-time occupation for a week, provided that the reader is prepared to continue reading without pausing to consider the meaning of the words before him. If he does stop to consider there is no limit to the time he may spend; indeed Joyce claimed that he expected his readers to devote their lives to his book. .1.3. Since its first publication in 1939 several hundreds of articles and over thirty books have appeared explaining its profundities from various viewpoints and in varying ways, but

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 56 ______agreement has still not been reached on many fundamental points. Indeed as research continues more complexities are found and a considerable amount of odium theologicum seems to be arising between the chief exegetes.

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 57 ______

Note Six:

Earworm Project

http://www.gold.ac.uk/music-mind-brain/earworm-project/

Why do tunes get stuck in our heads?

The Music, Mind and Brain group is currently running a number of projects examining the nature of earworms. We are funded by The Leverhulme Trust and our projects run in partnership with 6Music (BBC Radio).

LINK TO EARWORMERY.COM - The home of our original project questionnaire. Please fill in only once - then pass it on!

LINK TO QUICK EARWORM FORM - use this to report as many earworm experiences as you like.

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 58 ______

What are ‘earworms’?

The term earworm originally comes from a translation of the German word ‘Ohrwurm’. It refers to the experience of having a tune or a part of a tune stuck in your head. Often a person experiencing an earworm has no idea why a tune has popped into their head and has little control over how long it continues. Earworms are a really common phenomenon: A recent poll suggested over 90% of the population experience them at least once a week, so it seems like having the odd earworm is perfectly normal. But 15% of people classified their earworms as “disturbing” [1] and in a different study one third of the people described their earworms as “unpleasant” [2] - This means that although earworms are essentially harmless they can get in the way of what you are trying to do and can stop you from thinking straight.

Despite the prevalent nature of earworms and the potential impact they can have on our normal thought processes very little is known about what causes earworms, why they happen to some people more than others and why some tunes are more commonly heard as an earworm than others.This is where our research comes in!

Our Projects

 Project 1: What features do typical earworm music tunes have in common? - Are some tunes naturally more ‘sticky’?

NEWS! We have completed the first run of this project using over 1000 reports of earworm tunes. We used computational methods to analyse the structure of the tunes that were reported as earworms and then compared these tunes to ‘control songs’ to see which parts of the musical structure make a tune more ‘sticky’. Our model is continuing to grow and develop in strength as we get more and more reports. To keep you updated, we can tell you that the current model can predict whether a tune has the potential to be

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 59 ______an earworm with over 80% success. We are currently re-analysing our dataset to update our model and very soon we will have our first paper on this subject.

MORE NEWS! We presented our latest findings on this project at the 12th International Conference on Music Perception and Cognition (ICMPC) in July 2012 in a specially dedicated symposium run by Dr Vicky Williamson. A website for the symposium, including a link to the talk, can be found here: http://icmpc12earworms.com/

 Project 2: What do people who frequently experience earworms have in common? - Are musicians or music lovers more vulnerable? What about people with different personality types?

NEWS! We have completed the first run of this project using nearly 2000 reports of earworm tunes. We used statistical techniques to determine whether certain types of people were more likely to experience earworms. To keep you updated, we have found some fascinating relationships between personality and earworms.Our first paper on this subject has been submitted for publication and we hope to provide further details soon.

MORE NEWS! Our PhD student Georgina Floridou presented our latest findings on this project at the 12th International Conference on Music Perception and Cognition (ICMPC) in July 2012. A copy of her paper (‘Contracting earworms: The roles of personality and musicality’) can be found by visiting her co-author’s (Dr Vicky Williamson) university website here and clicking on ‘Publications’: http://www.gold.ac.uk/psychology/staff/victoria-williamson/

 Project 3: What causes earworms? - Are some situations more ‘high risk’? Can earworms have a purpose?

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 60 ______

NEWS! - We have completed their analyses of over 3000 earworm reports provided by the general public using our questionnaire and 6 Music contacts. To summarise, the results of this analysis have shown that while the music in our environment has an effect on our earworm experiences, especially when we hear music repeatedly and outside of our control, this is not the only factor that leads to spontaneous musical imagery. The reports we have received highlighted the importance of spreading activation in memory (both personal memory and memory for simple knowledge and facts), as well as the effects of mood and attention states on the type of music that we hear in our heads.

MORE NEWS! Our paper on this project is now published!! You can find it in the Psychology of Music Online first. Please contact Vicky Williamson if you would like a copy.

 Project 4: What cures earworms? - We are currently building a database of ‘earworm cures’, supplied by kind members of the public. Have you worked out a way to control your earworms? Have you worked out a trick for silencing the stuck tune? Do you know of a melody or sound that you can play or imagine that knocks out an earworm without itself getting stuck? If the answer to any of these questions is ‘yes’ then we would love to hear from you!

Please email: earwormcures - at- gmail.com

‘How can I get involved?’...

…By telling us about you and your earworm experiences at http://earwormery.com/ . In addition, anytime that you notice an earworm you can fill in our short report form which is hosted by 6Music here- the more the merrier! You can also send us earworm cures. Please email them to: earwormcures - at- gmail.com

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 61 ______

The Research Team at Goldsmiths

Sebastian Finkel

Georgia Floridou

Josh Fry

Rhiannon Jones

Daniel Müllensiefen

Lauren Stewart

Mike Wammes

Vicky Williamson

Please visit Vicky Williamson’s blog on music psychology

Contact: Any questions and comments can be directed to us at: [email protected]

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 62 ______

External Links

Recent Interview on Radio 4 (Begins 7m into recording): http://www.bbc.co.uk/programmes/b00t2xct#synopsis

Earworm Paper 1 (Project 3) on the British Psychological Society Blog:

The birthplace of our earworm hunt: http://www.bbc.co.uk/6music/shows/shaun_keaveny/

The video where the 6 Music team got Vicky in a white coat!: http://www.youtube.com/watch?v=5SkxXzitCuU

Tell us your earworm on Twitter: http://twitter.com/search?q=earworms (#earworm)

Visit our Facebook page: http://en-gb.facebook.com/pages/Music-Mind-Brain-Goldsmiths/10150121042135716

Learn more about our research group: http://www.gold.ac.uk/music-mind-brain/

Learn about our Masters in Music, Mind and Brain: http://www.gold.ac.uk/pg/msc-music-mind-brain/

References

[1] Liikkanen L.A. (2008) Music in everymind: Commonality of involuntary musical imagery. Proceedings of the 10th International Conference of Music Perception and Cognition. Sapporo, Japan.

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 63 ______

[2] Beaman, C. P., & Williams, T. I. (2010) Earworms (“stuck song syndrome”): Towards a natural history of intrusive thoughts. British Journal of Psychology, 101(4), 637-653.

Edit

Goldsmiths, University of London, New Cross, London, SE14 6NW, UK Telephone: + 44 (0)20 7919 7171

Goldsmiths has charitable status

ends

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 64 ______

Tristan Tzara (Trist în Ţară)

Băneasa Airport, 1960

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 65 ______

Musical Allusions in Finnegans Wake.

ALL Exemplified.

FW Part Two.

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 66 ______

PART TWO

9. FW Episode Nine (41 pages, from 219 to 259)

FW FW Text Song Song Frequency Song information Address

FW 219

219.15 – {Humpty Dumpty} FW 003, 007, 012, 013, http://en.wikipedia.org/wiki/Humpty _Dumpty 219.16 013, 017, 029, 029, 044- 047, 099, 106, 129, 163, https://www.youtube.com/watch?v=h 1fiPIhGXYA 175, 184, 219, 230, 285, 294, 296, 314, 317, 319, 320, 325, 334, 341, 343, 352, 372, 373, 374, 375,

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 67 ______

386, 415, 422, 434, 455, 466, 496, 504, 550, 567, 568, 596, 606, 614, 614, 619, 619 219.19:10 Ballymooney Bloodriddon {The Ballyhooly Blue Ribbon FW 100, 219, 555, 608 http://digital.nls.uk/broadsides/broad side.cfm/id/15075 Murther by Bluechin Army}

FW 220

220.05:12 valkyrienne {Die Walküre} FW 068, 220 http://en.wikipedia.org/wiki/Die_Wal k%C3%BCre

https://www.youtube.com/watch?v=L QO94pYBA-0

FW 221

221.08:7 , Glen of the Downs, {Ned of the Hill} FW 221, 477 http://www.celticlyricscorner.net/ryan /ned.htm

https://www.youtube.com/watch?v=d UltGp-UeqM 221.26:1 . Jests, jokes, jigs [. . .] {Finnegan’s Wake} FW 004, 005, 006, 015, https://www.youtube.com/watch?v=q 6CHq9mXkJ8

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 68 ______

Finnegan 024, 034, 074, 089, 093, 105, 143, 176, 221, 240, 258, 276, 297, 313-314, 317, 321, 332, 337, 347, 351, 357, 358, 375, 379, 415, 453, 496-497, 499, 503, 506, 511, 519, 531, 537, 576, 580, 594, 607, 617, 621, 621, 628

FW 222

222.08:8 : O, Mester Sogermon, ef {O, Mister Porter, Whatever FW 135, 222, 257, 335, http://www.musicsmiles.com/oh_mr_ porter!.htm thes es whot ye deux, Shall I Do?} 493, 560, 571 https://www.youtube.com/watch?v=e- RpyLmIn3k 222.22:1 Chuffy was a nangel then {Taffy was a Welshman} FW 010, 014, 222, 323, http://en.wikipedia.org/wiki/Taffy_w as_a_Welshman and his soard fleshed light 390, 433 https://www.youtube.com/watch?v=N like likening. Cvmy7ZudqA 222.22:1 Chuffy was a nangel then {Saint Patrick Was a FW 014, 071, 222 http://martindardis.com/id283.html

Gentleman} http://www.youtube.com/watch?v=jvb

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 69 ______

and his soard fleshed light nXlJV0H0 like likening.

FW 223

223.05:2 Mutther Masons {Old Mother Mason} FW 223 223.10:12 a pop from her whistle. {Pop! Goes the Weasel} FW 072, 215, 223, 341, http://en.wikipedia.org/wiki/Pop_Goe s_the_Weasel 465, 540 https://www.youtube.com/watch?v=sf YoNPJcN30 223.17:5 Smiling Thrushes {Smiling Through} FW 223 https://www.youtube.com/watch?v=u Ta7NwNWvjE 223.23:3 Who are you? The cat’s {Pussy cat, pussy cat, where FW 223 http://en.wikipedia.org/wiki/Pussy_C at_Pussy_Cat mother [. . .] What do you have you been?} https://www.youtube.com/watch?v=Y lack? The look of a queen. 83fbhN6FBk 223.28:6 lore, the poor lie. {Die Lorelei} FW 201, 223, 548 http://ingeb.org/Lieder/ichweiss.html

https://www.youtube.com/watch?v=U JweIV8OqT8 223.31:4 He luked upon the {There Lowbacked Car} FW 143, 223 http://www.james-joyce- music.com/song15_lyrics.html bloomingrund [. . .] he https://www.youtube.com/watch?v=v listed back to beckline pJO-dWQlVg

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 70 ______

how she pranked alone so johntily.

FW 224

224.11:7 colline born {The Colleen Bawn} FW 039, 101, 224, 384, http://en.wikipedia.org/wiki/The_Coll een_Bawn 385, 397, 438 https://www.youtube.com/watch?v=a uxLF24uKeo 224.16:3 Sing, sweetharp, thing to [Sing, sweet Harp, oh sing to FW 224 http://www.musicanet.org/robokopp/ eire/singswee.htm me anone! me {air, unknown}] 224.28:9 Quanty purty bellas {Quant’ è bella} FW 224 http://musicalanalysisforsingers.blogsp ot.ro/2010/09/donizetti-quanto-e-bella- from-lelisir.html

https://www.youtube.com/watch?v=h z5uaxC_WaI 224.28:9 Quanty purty bellas {Quanto è bello il mio diletto} FW 224 http://www.youtube.com/watch?v=mz ABKSo-yn8 224.28:9 Quanty purty bellas {Morir! Si pura è bella} FW 178, 180, 224, 243, http://opera.stanford.edu/Verdi/Aida /libretto.html 518, 610 https://www.youtube.com/watch?v=_ xPKHLcv9bU

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 71 ______

FW 225

225.08:1 Warewolff! Olff! Toboo! {The Wolf and the Lamb} FW 225 http://en.wikipedia.org/wiki/The_Wol f_and_the_Lamb

http://www.recmusic.org/lieder/get_t ext.html?TextId=5710 225.10:3 and he ankered [. . .] for {Soldier, soldier, won’t you FW 225, 456 http://www.musicanet.org/robokopp/ english/osoldier.htm these times? marry me?} https://www.youtube.com/watch?v=R FaBq_G8jBo 225.14:2 And Shim shallave shome. {I had a little hobby horse} FW 197, 225 http://www.rhymes.org.uk/a33-i-had- a-little-hobby-horse.htm

https://www.youtube.com/watch?v=0 aSiJzaoOgs 225.30:2 Ring we round {Ring a-ring o’Roses} FW 006, 065, 147, 201, http://en.wikipedia.org/wiki/Ring_a_ Ring_o'_Roses 209, 210, 215, 225, 239, 245, 246, 314, 330, 448, http://www.youtube.com/watch?v=6e 667TEbztc 453, 459, 462, 494, 510, 552, 614 225.32:1 Yet, ah tears, who can her {O dear, what can the matter FW 028, 225, 275, 621 http://en.wikipedia.org/wiki/Oh_Dear !_What_Can_the_Matter_Be%3F mater be? She’s promised be?} https://www.youtube.com/watch?v=V [. . .] so forth. Ns6ey1Kb9U

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 72 ______

FW 226

226.02:3 For always down in {Dinah} FW 175, 226 http://en.wikipedia.org/wiki/Dinah_(s ong) Carolinas lovely Dinahs http://www.youtube.com/watch?v=Ul vaunt their view. PLXNsz4GA 226.02:3 For always down in {Carolina in the Morning} FW 226 http://en.wikipedia.org/wiki/Carolina _in_the_Morning Carolinas lovely Dinahs https://www.youtube.com/watch?v=3 vaunt their view. 5jBsg8oa8g 226.04:1 Poor Isa sits a glooming so {Poor Jenny is a-washing} FW 226 http://www.traditionalmusic.co.uk/tra ditional-games-1/traditional-games- gleaming in the gloaming; 1%20-%200372.htm#.UYDw_LXIvQo 226.04:1 Poor Isa sits a glooming so {Roamin’ in the Gloamin’} FW 158, 226 https://en.wikipedia.org/wiki/Roamin' _In_The_Gloamin' gleaming in the gloaming; https://www.youtube.com/watch?v=F 2ZMNRVvkL4 226.04:1 Poor Isa sits a glooming so {In the Gloaming} FW 147, 158, 226, 232, http://www.elyrics.net/read/s/story- lyrics/in-the-gloaming-lyrics.html gleaming in the gloaming; 318 https://www.youtube.com/watch?v=v 4hkE4iUrvk 226.09:6 But if he’ll go to be a son {Shule Aroon} FW 011, 049, 180, 226, http://en.wikipedia.org/wiki/Si%C3% BAil_A_R%C3%BAn 407-408, 603

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 73 ______

to France’s http://www.youtube.com/watch?v=RT UiXhac4XU 226.19:3 Hip it and trip it and {Lavender’s blue} FW 226 http://en.wikipedia.org/wiki/Lavende r_Blue chirrub and sing. Lord https://www.youtube.com/watch?v=V Chuffy’s sky sheraph and 7e1ACqWMFY Glugg’s got to swing. 226.22:2 scattering nods as girls {Here we go gathering nuts in FW 176, 226, 285, 490 http://bussongs.com/songs/here-we- go-gathering-nuts-in-may.php who may May} https://www.youtube.com/watch?v=x 55Mtvea9n8 226.24:1 Catchmire stockings, {Stockings red and garters FW 226 libertyed garters, blue} shoddyshoes, quicked out with selver. 226.26:4 And they leap [. . .] round {Lubin Loo} FW 226 http://eztrading555.com/kidsgames/lu binloo.htm in rout. 226.30:10 R is Rubretta [. . .] while {A was an Archer} FW 005, 019, 072, 080, http://www.mamalisa.com/?t=hes&p= 1375 W 226, 228, 242, 250, 293, 302, 314, 319, 404, 603 226.33:10 these way went they. {When I was a young girl} FW 226, 226, 227, 227 http://www.sing365.com/music/lyric. nsf/When-I-Was-A-Young-Girl-lyrics- Feist/13A94B95E163235D48256F2D0006

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 74 ______

7E61

https://www.youtube.com/watch?v=9 A6tz3jmQRM 226.34:4 I’ th’ view o’ th’avignue {Sur le pont d’Avignon} FW 226 http://en.wikipedia.org/wiki/Sur_le_P ont_d'Avignon

https://www.youtube.com/watch?v=uJ KfxtYAt0s 226.35:2 Miss Oodles [. . .] {When I was a young girl} FW 226, 226, 227, 227 http://www.sing365.com/music/lyric. nsf/When-I-Was-A-Young-Girl-lyrics- doeslike. So. Feist/13A94B95E163235D48256F2D0006 7E61

https://www.youtube.com/watch?v=9 A6tz3jmQRM 226.36:12 Dies of Eirae {Dies Irae} FW 226, 340, 481 http://en.wikipedia.org/wiki/Dies_Ira e

https://www.youtube.com/watch?v=D lr90NLDp-0

FW 227

227.11:11 All runaway sheep [. . .] {Little Bo Peep} FW 080, 096, 143, 144, http://en.wikipedia.org/wiki/Little_Bo _Peep behind them. 147, 227, 248, 272, 276, 413, 420, 435, 449, 459, https://www.youtube.com/watch?v=O gm9F-HviKQ

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 75 ______

478, 478, 500, 500, 500, 502, 508, 540, 563, 571, 588, 590, 601, 614, 624 227.13:2 And these ways wend {When I was a young girl} FW 226, 226, 227, 227 http://www.sing365.com/music/lyric. nsf/When-I-Was-A-Young-Girl-lyrics- they. And those ways Feist/13A94B95E163235D48256F2D0006 7E61 went they. https://www.youtube.com/watch?v=9 A6tz3jmQRM

FW 228

228.12:3 cumman to the nowter {Come to the Bower} FW 228 http://www.ireland- information.com/irishmusic/cometothe bower.shtml

https://www.youtube.com/watch?v=yj Xl-TqETQA 228.12:7 Byebye, Brassolis, {Bye, Bye, Blackbird} FW 228 http://en.wikipedia.org/wiki/Bye_Bye _Blackbird

https://www.youtube.com/watch?v=O fuH6ERJFGY 228.12:7 Byebye, Brassolis, I’m {Good-bye, Dolly Gray} FW 027, 168, 228, 246 http://en.wikipedia.org/wiki/Goodbye ,_Dolly_Gray breaving! Our war, Dully https://www.youtube.com/watch?v=Z

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 76 ______

Gray! sbwba3dA70 228.12:7 Byebye, Brassolis, I’m {It’s a Long Way to FW 009, 131, 202, 228, https://en.wikipedia.org/wiki/It's_a_L ong_Way_to_Tipperary breaving! Our war, Dully Tipperary} 595 https://www.youtube.com/watch?v=u Gray! SQDzZ2QZWc 228.14:2 Gelchasser no more! {Lochaber No More} FW 228 228.15:11 Mum’s for’s maxim, ban’s {A was an Archer} FW 005, 019, 072, 080, http://www.mamalisa.com/?t=hes&p= 1375 for’s book 226, 228, 242, 250, 293, 302, 314, 319, 404, 603 228.24:4 Right for Rovy the Roder. {Roddy More, The Rover} FW 228, 375 228.29:2 He would, with the {The Daring Young Man on FW 228 http://en.wikipedia.org/wiki/The_Dari ng_Young_Man_on_the_Flying_Trapeze greatest of ease [. . .] the Flying Trapeze} https://www.youtube.com/watch?v=f midhook wvqMptS7UA 228.31:1 for othersites of Jorden, {Jonah and the Whale} FW 228, 245, 323, 434, http://christianity.about.com/od/bible storysummaries/a/Jonah-And-The- 463, 536 Whale.htm

http://kids- songs.tv/who_did_swallow_jonah

https://www.youtube.com/watch?v=F VFMMUF441Q 228.31:5 heave a hevy, waterboy! {Waterboy} FW 228 http://en.wikipedia.org/wiki/Waterbo y_(song)

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 77 ______

http://www.lyricsmode.com/lyrics/h/ harry_belafonte/water_boy_odetta.html

https://www.youtube.com/watch?v=1r 62xSO22uU

FW 229

229.12:1 Croppy {The Croppy Boy} FW 103, 229, 516 http://en.wikipedia.org/wiki/The_Cro ppy_Boy

http://www.youtube.com/watch?v=_Q Mx1lXgUKc 229.14:6 A Wondering Wreck. {Son of a Gombolier} FW 229, 317, 323, 355 http://sniff.numachi.com/pages/tiSON GAMB;ttSONGAMB.html

http://www.youtube.com/watch?v=O w1dznt-RrU 229.24:9 So they fished in the {Polly, put the kettle on} FW 023, 117, 161, 229, http://en.wikipedia.org/wiki/Polly_Pu t_the_Kettle_On kettle [. . .] for thea. 236, 330, 332, 372, 585 https://www.youtube.com/watch?v=G T7T4tJzuZk

FW 230

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 78 ______

230.04 {Humpty Dumpty} FW 003, 007, 012, 013, http://en.wikipedia.org/wiki/Humpty _Dumpty 013, 017, 029, 029, 044- 047, 099, 106, 129, 163, https://www.youtube.com/watch?v=h 1fiPIhGXYA 175, 184, 219, 230, 285, 294, 296, 314, 317, 319, 320, 325, 334, 341, 343, 352, 372, 373, 374, 375, 386, 415, 422, 434, 455, 466, 496, 504, 550, 567, 568, 596, 606, 614, 614, 619, 619 230.15:3 Mademoisselle from {Mademoiselle from FW 064, 075, 230, 276 http://en.wikipedia.org/wiki/Mademo iselle_from_Armenti%C3%A8res Armentières. Armentières} https://www.youtube.com/watch?v=h zb7yMOW5OA 230.21:3 foil the fluter, {Phil the Fluter’s Ball} FW 006, 012, 043, 058, http://en.wikisource.org/wiki/Phil_the _Fluther%27s_Ball 063, 076, 230, 240, 297, 318, 319, 335, 341, 351, http://www.youtube.com/watch?v=_x _50hB3lCM 363, 444, 531 230.25:5 Was liffe worth leaving? {Is Life Worth Living?} FW 230, 269 230.25:5 Was liffe worth leaving? {Leaving Yet Loving} FW 230, 269 http://nla.gov.au/nla.mus-vn3989753

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 79 ______

230.35:2 Remember thee, castle [Remember thee? yes, while FW 230 http://www.musicanet.org/robokopp/ eire/remembe2.htm throwen? there’s life in this heart {Castle Tirowen}]

FW 231

231.03:1 gin a paddy? got a petty? {Comin’ through the Rye} FW 025, 095, 231, 329, https://en.wikipedia.org/wiki/Comin'_ Thro'_the_Rye 523, 578 https://www.youtube.com/watch?v=w y2vyx_ZZn0 231.15:1 dense floppens mugurdy {Down Went McGinty} FW 085, 231, 316, 366 http://www.traditionalmusic.co.uk/so ngster/24-down-went- mcginty.htm#.UXaZy7XIvQo

https://www.youtube.com/watch?v=Iz omNUuP82U 231.29:9 An oldsteinsong. {Love’s Old Sweet Song} FW 110, 161, 231, 398 http://en.wikipedia.org/wiki/Love's_O ld_Sweet_Song

http://www.incallander.co.uk/scottishs ongs/song28.htm

https://www.youtube.com/watch?v=r0 ROJEeZofo 231.29:9 An oldsteinsong. {The Stein Song} FW 231 http://www.goblackbears.com/informa tion/the_Stein_song/index

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 80 ______

https://www.youtube.com/watch?v=j- sfdtRBIfI 231.32:3 ladle broom jig {Little Brown Jug} FW 033, 153, 159, 231, http://en.wikipedia.org/wiki/Little_Br own_Jug_{song) 341 https://www.youtube.com/watch?v=T xmZ5sabk7U 231.33:6 old Roastin the Bowl {Old Roisin the Beau} FW 231, 526 http://en.wikipedia.org/wiki/Old_Rosi n_the_Beau

https://www.youtube.com/watch?v=id 55If49kRQ 231.34:2 Why was that man for he’s {Frankie and Johnnie} FW 231 http://en.wikipedia.org/wiki/Frankie_ and_Johnny_(song) doin her wrong! https://www.youtube.com/watch?v=iq scpuCogRE 231.34:9 Lookery [. . .] looks, it’s {Casey Jones} FW 231-232, 349-350, https://www.youtube.com/watch?v=w 8qTKyb0EcY his spurt of coal. 368, 427

FW 232

232.02:5 For the mauwe that blinks {The Man that Broke the Bank FW 071, 090, 232, 274, http://en.wikipedia.org/wiki/The_Ma n_Who_Broke_the_Bank_at_Monte_Carl you blank is mostly at Monte Carlo} 514, 538 o_{song}

Carbo. https://www.youtube.com/watch?v=G x1SWS1MFbU

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 81 ______

232.06:9 In the lost of the {In the Gloaming} FW 147, 158, 226, 232, http://www.elyrics.net/read/s/story- lyrics/in-the-gloaming-lyrics.html gleamens. 318 https://www.youtube.com/watch?v=v 4hkE4iUrvk 232.10:6 pet! [. . .] (call her venicey {Call Me Pet Names} FW 232 http://www.loc.gov/item/sm1851.5000 50 names! [. . .] ) 232.14:1 And around its scorched {All Around My Hat I Wear a FW 022, 023, 054, 232, http://en.wikipedia.org/wiki/All_Aro und_My_Hat_{song} cap [. . .] she’s marrid. Tricolored Ribbon} 291, 370, 439, 503, 515 https://www.youtube.com/watch?v=7 Gq_S06ytJM 232.14:1 And around its scorched {Still Growing} FW 232 cap [. . .] she’s marrid. 232.15:6 And pim it goes {Sing a song of sixpence} FW 010, 011, 129, 134- http://en.wikipedia.org/wiki/Sing_a_S ong_of_Sixpence backballed. 135, 147, 167, 190, 232, 236, 242, 244, 267, 276, https://www.youtube.com/watch?v=g vfdueZecVk 279, 300, 364, 377, 407, 450 232.16:5 A claribel cumbeck to {Come Back to Erin} FW 021, 022, 120, 144, http://www.youtube.com/watch?v=IS5 QXouYQTs errind. 232, 312, 315, 320, 421, 427, 428, 446, 510 232.19:4 I have soreunder from to {I Surrender, Dear} FW 232 http://en.wikipedia.org/wiki/I_Surren der_Dear

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 82 ______

him now, dearmate ashore https://www.youtube.com/watch?v=q XGv-rd-bvA+- 232.19:4 I have soreunder from to {Dermot Asthore} FW 232, 601 http://mudcat.org/thread.cfm?threadid =30528 him now, dearmate ashore 232.21:12 Is you zealous of mes, {Certainly, Lord!} FW 232, 363 http://www.allgospellyrics.com/?sec=li sting&lyricid=12002 brother? [. . .] Satanly, https://www.youtube.com/watch?v=g lade! _BfBVYZOtU 232.36:6 lucky for the Rio Grande. {Were You Ever in Rio FW 232 Grande?}

FW 233

233.01:8 he’d a telltale tall [. . .] {Horsey, Keep Your Tail Up} FW 233, 315, 498, 531 http://lyricsplayground.com/alpha/so ngs/h/horseykeepyourtailup.shtml and his tail cooked up. https://www.youtube.com/watch?v=L 2k4U1d8zp0 233.01:8 he’d a telltale tall [. . .] {My mother had a turkey and FW 233, 315, 316, 340, http://lyricsplayground.com/alpha/so ngs/h/horseykeepyourtailup.shtml and his tail cooked up. she thought it was a duck} 498 https://www.youtube.com/watch?v=L 2k4U1d8zp0 233.07:2 he maun’t know ledgings {Ain’t No Hidin’ Place Down FW 233 http://www.traditionalmusic.co.uk/fol k-song- There} lyrics/No_Hiding_Place_Down_There.h

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 83 ______

here. tm

https://www.youtube.com/watch?v=R b4k6r9PxKY 233.08:1 For a haunting way will go {A-Hunting We Will Go} FW 032, 233 http://www.kididdles.com/lyrics/a001 .html [. . .] show and show. https://www.youtube.com/watch?v=2 xgUm8ChuiE 233.12:7 playfair, lady! {London Bridge is falling FW 007, 058, 233, 239 http://en.wikipedia.org/wiki/London_ Bridge_Is_Falling_Down down} http://www.youtube.com/watch?v=cd 7OHbulNXU

FW 234

234.01:2 Hovobovo hafogate {Hokey Pokey, Five a Plate} FW 071, 078, 234, 254, http://en.wikipedia.org/wiki/Hokey_c okey 256, 315, 368, 542, 558 https://www.youtube.com/watch?v=o kEBfQk6SXI 234.07:8 the kerl he left behind {The Girl I Left behind Me} FW 106, 383 http://en.wikipedia.org/wiki/The_Girl _I_Left_Behind him? https://www.youtube.com/watch?v=eI w8m9ogJKE 234.15:1 oily [. . .] tractive [. . .] [O! think not my spirits are FW 234, 570 http://www.contemplator.com/ireland /thinknot.html

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 84 ______

host of spirities always as light {John O’Reilly the Active}] 234.26:2 t’rigolect {Rigoletto} FW 234 http://en.wikipedia.org/wiki/Rigoletto

https://www.youtube.com/watch?v=g TjtuAN9OzI 234.33:2 tumtum argan {Tantum ergo} FW 167, 234 http://en.wikipedia.org/wiki/Tantum_ Ergo

https://www.youtube.com/watch?v=y YxyiUB1L0s 234.36:3 goholden! {Jerusalem the Golden} FW 234 http://www.hymnsandcarolsofchristma s.com/Hymns_and_Carols/NonChrist mas/jerusalem_the_golden.htm

https://www.youtube.com/watch?v=X 7SLjwzKfCw

FW 235

235.01:3 the madiens’ prayer {A Maiden’s Prayer} FW 235 http://en.wikipedia.org/wiki/Maiden's _Prayer

https://www.youtube.com/watch?v=h 49KvdzQmXw 235.10:7 Should in ofter years it {Oft in the stilly night} FW 040, 136, 192, 235 http://www.poemhunter.com/poem/o ft-in-the-stilly-night/ became about you

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 85 ______

https://www.youtube.com/watch?v=e a2Sgqvk-6o 235.10:7 Should in ofter years it {Then you’ll remember me} FW 088, 135, 170, 235, http://www.aria- database.com/search.php?individualAri became about you 245, 276, 360, FW 460, a=897 461, 508, 628 https://www.youtube.com/watch?v=V aA4eK3PxsI 235.13:5 La Roseraie {The Rosary} FW 235 http://www.recmusic.org/lieder/get_t ext.html?TextId=13772

https://www.youtube.com/watch?v=s3 WLVqw97J4 235.21:9 private palypeachum {Pretty Little Polly Perkins FW 235, 241, 337, 470, http://en.wikipedia.org/wiki/Pretty_P olly_Perkins_of_Paddington_Green from Paddington Green} 508 https://www.youtube.com/watch?v=7f ttPV0auKY

FW 236

236.01 {Chloe} FW 236, 453 http://en.wikipedia.org/wiki/Chlo- e_(Song_of_the_Swamp)

https://www.youtube.com/watch?v=8 nYYYtgi0lA 236.07:3 He’s not going to Cork till {How many miles to FW 017, 020, 084, 236 http://en.wikipedia.org/wiki/How_M any_Miles_to_Babylon%3F Cantalamesse Babylon?}

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 86 ______

https://www.youtube.com/watch?v=O zZNZNCpWw0 236.09:5 the Momor’s her and hin {The Farmer in the Dell} FW 236, 262 http://en.wikipedia.org/wiki/The_Far mer_in_the_Dell [. . .] all adin. https://www.youtube.com/watch?v=k P9PHArRM3E 236.09:5 the Momor’s her and hin {The Grand Old Duke of FW 236, 262 http://en.wikipedia.org/wiki/The_Gra nd_Old_Duke_of_York [. . .] all adin. York} https://www.youtube.com/watch?v=- 5LgybHRDeI 236.10:6 We’ll sing a song of {Sing a song of sixpence} FW 010, 011, 129, 134- http://en.wikipedia.org/wiki/Sing_a_S ong_of_Sixpence Singlemonth 135, 147, 167, 190, 232, 236, 242, 244, 267, 276, https://www.youtube.com/watch?v=g vfdueZecVk 279, 300, 364, 377, 407, 450 236.12:4 So come on, ye wealthy {God Rest Ye Merry, FW 236 http://en.wikipedia.org/wiki/God_Res t_You_Merry,_Gentlemen gentrymen Gentlemen} https://www.youtube.com/watch?v=N M57M6NwJvw 236.12:4 So come on, ye wealthy {A Christmas Carol} FW 236 http://en.wikipedia.org/wiki/A_Christ mas_Carol gentrymen http://en.wikipedia.org/wiki/Christma s_carol

https://www.youtube.com/watch?v=o

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 87 ______

QhslZxHvcs 236.12:4 So come on, ye wealthy {The Fireship} FW 236 http://www.saltydick.com/lyrics/19- the-fireship.htm gentrymen 236.13:8 Thej olly and thel ively [. . {The Holly and the Ivy} FW 058, 059, 097, 147, http://en.wikipedia.org/wiki/The_Holl y_and_the_Ivy .] sing a missal too. 152, 236, 265, 291, 421, 465, 468, 502, 505, 556, https://www.youtube.com/watch?v=F xH60hIb9TM 588, 616 236.15:10 O you longtailed {O You New York Girls, FW 236 http://anitra.net/chanteys/polka.html

blackman, polk it up Can’t You Dance the Polka?} https://www.youtube.com/watch?v=Q 8HD9GWc_P4 behind me! 236.15:10 O you longtailed {Fi Hi Hi, the Black Shakers FW 236, 451, 588 http://www.thehackley.org/gsdl/cgi- bin/library?e=d-000-00---0dplhacsm-- blackman, polk it up Song and Polka} 00-0-0-0prompt-10---4---Document---0- 1l--1-en-50---20-about---001-011-1- behind me! 0utfZz-8- 0&a=d&cl=CL6.2&d=HASH353367e4a6f 9a736365f1e

http://www.pdmusic.org/1800s/51fhh. txt 236.17:3 And, jessies, push the {Polly, put the kettle on } FW 023, 117, 161, 229, http://en.wikipedia.org/wiki/Polly_Pu t_the_Kettle_On pumkik round. 236, 330, 332, 372, 585 https://www.youtube.com/watch?v=G T7T4tJzuZk

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 88 ______

236.31:10 when momie mummed at {Song of Momus to Mars} FW 236 ma. 236.33:3 stylled with the nattes {Stille wie die Nacht} FW 117, 236 http://www.recmusic.org/lieder/get_t ext.html?TextId=1530

https://www.youtube.com/watch?v=Z r0yY99FDMk

FW 237

237.05:1 Mullabury mesh {Here we go round the FW 006, 176, 237, 490, http://en.wikipedia.org/wiki/Here_W e_Go_Round_the_Mulberry_Bush mulberry bush} 581 https://www.youtube.com/watch?v=lr 2PUHiw8Ek 237.18:1 tenderumstouchings in all {Father O’Flynn} FW 089, 095, 101, 183, http://www.ireland- information.com/irishmusic/fatherofly Daneygaul 237, 257, 265, 279, 338, nn.shtml 350, 408, 419, 439, 454, https://www.youtube.com/watch?v=0 512, 562 g1bBvTg1bU

FW 238

238.07:1 coming offence can send {Lochiel’s Warning} FW 238, 253, 583 http://allpoetry.com/poem/8458117- Lochiels_Warning-by-

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 89 ______

our shudders before. Thomas_Campbell 238.12:12 for sold long syne {Auld Lang Syne} FW 087, 096, 112, 238, http://en.wikipedia.org/wiki/Auld_La ng_Syne 305, 384, 386, 389, 390, 393, 397, 398, 406, 468, https://www.youtube.com/watch?v=ac xnmaVTlZA 584 https://www.youtube.com/watch?v=a LAAHs1ohxg 238.18:3 You don’t want to peach {We Don’t Want to Fight but, FW 067, 238 http://en.wikipedia.org/wiki/By_Jingo

but bejimboed if ye do! by Jingo, if We Do} https://www.youtube.com/watch?v=s Hqanal52Gk

FW 239

239.26:4 Whyfor we go ringing {Ring a-ring o’Roses} FW 006, 065, 147, 201, http://en.wikipedia.org/wiki/Ring_a_ Ring_o'_Roses hands in hands in 209, 210, 215, 225, 239, 245, 246, 314, 330, 448, http://www.youtube.com/watch?v=6e gyrogyrorondo 667TEbztc 453, 459, 462, 494, 510, 552, 614 239.28:7 waltzing up their willside {Sean a Dhuir a Ghleanna} FW 014, 025, 093, 116, 239, 365, 602, 621 239.28:7 waltzing up their willside {Waltz Me Around Again, FW 010, 078, 239 http://www.heftone.com/words/waltz _me_around_again_willie.html

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 90 ______

Willie} https://www.youtube.com/watch?v=K GyZr91qxBM 239.32:6 oaths and screams and {Oats, peas, beans and barley FW 239, 602 http://en.wikipedia.org/wiki/Oats_Pea s_Beans_and_Barley_Grow bawley groans grow} https://www.youtube.com/watch?v=x U7C2BvL-C4 239.33:3 belchybubhub {Rub-a-dub-dub} FW 178, 239, 290, 351 http://en.wikipedia.org/wiki/Rub-a- dub-dub http://www.youtube.com/watch?v=x2 vZ6Z_gG0E 239.34:6 Lonedom’s breach lay {London Bridge is falling FW 007, 058, 233, 239 http://en.wikipedia.org/wiki/London_ Bridge_Is_Falling_Down foulend up down} http://www.youtube.com/watch?v=cd 7OHbulNXU 239.36:2 Yet the ring gayed rund {Ring a-ring o’Roses} FW 006, 065, 147, 201, http://en.wikipedia.org/wiki/Ring_a_ Ring_o'_Roses rorosily 209, 210, 215, 225, 239, 245, 246, 314, 330, 448, http://www.youtube.com/watch?v=6e 667TEbztc 453, 459, 462, 494, 510, 552, 614

FW 240

240.03:6 For poor Glugger [. . .] {Old Roger is dead and gone FW 240, 290 http://www.traditionalmusic.co.uk/tra ditional-games-2/traditional-games-

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 91 ______

laid in his grave. to his grave} 2%20-%200120.htm#.UYJyTbXIvQo

https://www.youtube.com/watch?v=k mATYSi9pGg 240.05:1 But low, boys low, he rises {What Shall We Do with a FW 240, 581 http://en.wikipedia.org/wiki/Drunken _Sailor Drunken Sailor?} https://www.youtube.com/watch?v=q GyPuey-1Jw 240.05 – {Finnegan’s Wake} FW 004, 005, 006, 015, https://www.youtube.com/watch?v=q 6CHq9mXkJ8 240.06 024, 034, 074, 089, 093, 105, 143, 176, 221, 240, 258, 276, 297, 313-314, 317, 321, 332, 337, 347, 351, 357, 358, 375, 379, 415, 453, 496-497, 499, 503, 506, 511, 519, 531, 537, 576, 580, 594, 607, 617, 621, 621, 628 240.09:7 No more singing all the {Polly Wolly Doodle} FW 240, 250, 328, 346, http://en.wikipedia.org/wiki/Polly_W olly_Doodle dags 379, 454, 486, 508 https://www.youtube.com/watch?v=8 COB4_i5rcA 240.09:7 No more singing all the {The Old Kentucky Home} FW 175, 240, 436, 615 http://en.wikipedia.org/wiki/My_Old _Kentucky_Home

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 92 ______

dags http://freepages.music.rootsweb.ancest ry.com/~edgmon/stkentuckyhome.htm

https://www.youtube.com/watch?v=D n_ZbX60Oa4 240.10:7 Trinitatis kink [. . .] fore, {At Trinity Church I Met My FW 007, 071, 102, 103, http://lyricsplayground.com/alpha/so ngs/a/attrinitychurch.shtml pree. Doom} 135, 173, 240, 326, 498, 548, 588, 624 240.17:1 Good savours queen {God Save the Queen} FW 098, 240, 350-351, http://en.wikipedia.org/wiki/God_Sav e_the_Queen 498, 499 https://www.youtube.com/watch?v=t N9EC3Gy6Nk 240.23:5 Flinn the Flinter {Phil the Fluter’s Ball} FW 006, 012, 043, 058, http://en.wikisource.org/wiki/Phil_the _Fluther%27s_Ball 063, 076, 230, 240, 297, 318, 319, 335, 341, 351, http://www.youtube.com/watch?v=_x _50hB3lCM 363, 444, 531 240.34:5 haircut people [. . .] his {Brian O’Linn} FW 006, 017, 060, 070, http://chivalry.com/cantaria/lyrics/bri an_olynn.html tile togged 148, 240, 275, 328, 338, 372, 373, 507 https://www.youtube.com/watch?v=R YTQNJlZPT0

FW 241

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 93 ______

241.02:6 coaxyorum {Little Cockalorum} FW 241, 615 241.05:2 pruriest pruriest {Pretty Little Polly Perkins FW 235, 241, 337, 470, http://en.wikipedia.org/wiki/Pretty_P olly_Perkins_of_Paddington_Green pollygameous inatentions from Paddington Green} 508 https://www.youtube.com/watch?v=7f ttPV0auKY 241.25:5 tammy ratkins {Tommy Atkins} FW 125, 241, 281, 350, http://www.halhkmusic.com/gaietygir l/agg11.html 436, 588 241.32:8 alse false liarnels {Martha} FW 040, 180, 241 http://en.wikipedia.org/wiki/Martha_( opera)

http://www.youtube.com/watch?v=K U6F3_XMU_w

FW 242

242.14:2 trial by julias {Trial by Jury} FW 242, 466 http://en.wikipedia.org/wiki/Trial_by _Jury

https://www.youtube.com/watch?v=s qeg82I_37o 242.14:7 sunhat [. . .] wokklebout {Ophelia’s song} FW 023, 041, 081, 085, http://www.bartleby.com/40/98.html

shake 242, 243, 390, 482 https://www.youtube.com/watch?v=M l-aYNDQ05Y 242.20:9 It’s his last lap Gigantic, {It’s Your Last Voyage, FW 242, 379, 480 Titanic, Fare You Well}

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 94 ______

fare him weal! 242.22:3 Hump for humbleness, {A was an Archer} FW 005, 019, 072, 080, http://www.mamalisa.com/?t=hes&p= 1375 dump for dirts. 226, 228, 242, 250, 293, 302, 314, 319, 404, 603 242.30:5 Psing a psalm of {Sing a song of sixpence} FW 010, 011, 129, 134- http://en.wikipedia.org/wiki/Sing_a_S ong_of_Sixpence psexpeans, apocryphul of 135, 147, 167, 190, 232, 236, 242, 244, 267, 276, https://www.youtube.com/watch?v=g rhyme! vfdueZecVk 279, 300, 364, 377, 407, 450

FW 243

243.03:3 magrathmagreeth {Master McGrath} FW 004, 060, 145, 212, http://martindardis.com/id743.html https://www.youtube.com/watch?v=M 243, 377, 511, 584, 622 H94QQOM4W4 243.07:12 pialabellars [. . .] pur war {Morir! si pura e bella} FW 178, 150, 224, 243, http://opera.stanford.edu/Verdi/Aida /libretto.html 518, 610 https://www.youtube.com/watch?v=_ xPKHLcv9bU 243.24:11 massa dinars {Massa Dear} FW 243 http://www.barnesandnoble.com/w/ massa-dear-antonin-dvorak/1019697118 243.25:3 her savuneer dealinsh {Savourneen Deelish} FW 243, 613 http://www.contemplator.com/ireland /deelish.html

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 95 ______

http://www.youtube.com/watch?v=dq jlTR32I5Y 243.25:9 nutbrown [. . .] Mayde {The Nut Brown Maid} FW 243, 272 http://en.wikipedia.org/wiki/The_Nut -Brown_Maid

https://www.youtube.com/watch?v=R XILQsEQJ-M 243.26:1 glory cloack {The Rocky Road to Dublin} FW 014, 064, 197, 244, http://en.wikipedia.org/wiki/Rocky_R oad_to_Dublin 287, 315, 323, 328, 341, 355, 514, 555, 565, 623 http://www.youtube.com/watch?v=yv vMuJ_VeX4 243.28:8 shookerloft hat from {Ophelia’s song} FW 023, 041, 081, 085, http://www.bartleby.com/40/98.html

Alpoleary 242, 243, 390, 482 https://www.youtube.com/watch?v=M l-aYNDQ05Y

FW 244

244.07:5 syngagyng a sangasongue {Sing a song of sixpence} FW 010, 011, 129, 134- http://en.wikipedia.org/wiki/Sing_a_S ong_of_Sixpence 135, 147, 167, 190, 232, 236, 242, 244, 267, 276, https://www.youtube.com/watch?v=g vfdueZecVk 279, 300, 364, 377, 407, 450 244.12:1 chez where the log foyer’s {Keep the Home Fires FW 244, 474 http://en.wikipedia.org/wiki/Keep_th e_Home_Fires_Burning_(1914_song) Burning}

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 96 ______

burning! https://www.youtube.com/watch?v=q CyESeXq3Q4 244.24:2 a craggy road for rambling {The Rocky Road to Dublin} FW 014, 064, 197, 244, http://en.wikipedia.org/wiki/Rocky_R oad_to_Dublin 287, 315, 323, 328, 341, 355, 514, 555, 565, 623 http://www.youtube.com/watch?v=yv vMuJ_VeX4 244.25:9 Say long, scielo! Sillume, [Sail on, sail on, thou fearless FW 244 http://www.musicanet.org/robokopp/ eire/sailonsa.htm see lo! Selene, sail O! bark {The humming of the Amune! Ark!? Noh?! Ban}] 244.33:8 cockeedoodle {Cock a Doodle Doo} FW 096, 244, 461, 584, http://en.wikipedia.org/wiki/Cock_a_ doodle_doo 595 https://www.youtube.com/watch?v=m gruLV66qvo

FW 245

245.05:9 When otter leaps in outer {Then you’ll remember me} FW 088, 135, 170, 235, http://www.aria- database.com/search.php?individualAri parts then Yul remembers 245, 276, 360, 460, 461, a=897 508, 628 Mei. https://www.youtube.com/watch?v=V aA4eK3PxsI 245.06:9 Her hung maid mohns are {The Young May Moon} FW 065, 099, 201, 245, http://www.bartleby.com/101/582.htm l bluming, look [. . .] ; 267, 318, 436

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 97 ______

arcglow’s seafire siemens https://www.youtube.com/watch?v=H 7a6Y5iDk4A lure 245.12:1 Junoh and the whalk {Jonah and the Whale} FW 228, 245, 323, 434, http://christianity.about.com/od/bible storysummaries/a/Jonah-And-The- 463, 536 Whale.htm

http://kids- songs.tv/who_did_swallow_jonah

https://www.youtube.com/watch?v=F VFMMUF441Q 245.16:7 Witchman, watch of your {Watchman, What of the FW 245, 556 http://www2.cpdl.org/wiki/index.php /Say,_watchman,_what_of_the_night%3 night? Night?} F_(Arthur_Sullivan)

https://www.youtube.com/watch?v=a O8Uy0q6q2k 245.20:8 With the width of the way {Ring a-ring o’ Roses} FW 006, 065, 147, 201, http://en.wikipedia.org/wiki/Ring_a_ Ring_o'_Roses for jogjoy. 209, 210, 215, 225, 239, 245, 246, 314, 330, 448, http://www.youtube.com/watch?v=6e 667TEbztc 453, 459, 462, 494, 510, 552, 614 245.25:1 here lurks, bar {Who killed Cock Robin?} FW 006, 007, 095, 211, http://en.wikipedia.org/wiki/Cock_Ro bin hellpelhullpulthebell [. . .] 245, 256, 328, 333, 353, 361, 362, 383, 384, 568, https://www.youtube.com/watch?v=E Bing. Bong. Bangbong. g2F-I5bMIo 588

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 98 ______

245.35:9 Chavvyout Chacer {The Ballad of Chevy Chase} FW 030, 245, 335 http://en.wikipedia.org/wiki/The_Ball ad_of_Chevy_Chase

http://www.contemplator.com/child/c hevych.html 245.36:3 cup [. . .] astirrup. {The Stirrup Cup} FW 040, 245, 462 http://en.wikipedia.org/wiki/Stirrup_c up

http://www.recmusic.org/lieder/get_t ext.html?TextId=34373

FW 246

246.14:2 A palashe for hirs [. . .] {Ring a-ring o’ Roses} FW 006, 065, 147, 201, http://en.wikipedia.org/wiki/Ring_a_ Ring_o'_Roses for the wonner 209, 210, 215, 225, 239, 245, 246, 314, 330, 448, http://www.youtube.com/watch?v=6e 667TEbztc 453, 459, 462, 494, 510, 552, 614 246.18:4 the lily of Bohemey {The Lily of Killarney} FW 032, 246, 433, 450 http://en.wikipedia.org/wiki/The_Lily _of_Killarney

https://www.youtube.com/watch?v=y MdIrxtlEAo 246.18:4 the lily of Bohemey {The Bohemian Girl} FW 032, 170, 246, 404 http://en.wikipedia.org/wiki/The_Boh emian_Girl

https://www.youtube.com/watch?v=Io

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 99 ______

M1hYqpRSI 246.22:5 And vamp, vamp, vamp, {Tramp, Tramp, Tramp, the FW 078, 093, 246, 340, the girls are merchand. Boys Are Marching} 343, 534 246.26:6 Dolly Brae {Good-bye, Dolly Gray} FW 027, 168, 228, 246 http://en.wikipedia.org/wiki/Goodbye ,_Dolly_Gray

https://www.youtube.com/watch?v=Z sbwba3dA70 246.34:9 Teaseforhim. Toesforhim. {Tea for Two} FW 065, 119, 145, 246, http://en.wikipedia.org/wiki/Tea_for_ Two_(song) Tossforhim. Two. 260, 332, 384, 457, 584, 603, 620 http://www.youtube.com/watch?v=y0 zc7x434Aw

FW 247

247.17:4 With such a tooth he {My Sweetheart When a Boy} FW 247 http://www.traditionalmusic.co.uk/so ngster/02-my-sweetheart-when-a- seemed to love his wee boy.htm#.UYPnz7XIvQo

tart when abuy. https://www.youtube.com/watch?v=_ 4w0G6Z2fE8 247.18:5 Highly momourning he {Eily Mavourneen, I see thee FW 247, 428 http://www.traditionalmusic.co.uk/so ngster/23-eily- see the before him. before me} mavourneen.htm#.UYPocLXIvQo 247.18:5 Highly momourning he {The Mountains of Mourne} FW 247, 277, 462, 623 http://en.wikipedia.org/wiki/The_Mo untains_of_Mourne

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 100 ______

see the before him. https://www.youtube.com/watch?v=I4 M_0Bvk10Q 247.28:01 Tarara boom decay {Ta Ra Ra Boom De Ay} FW 007, 173, 247, 513 http://en.wikipedia.org/wiki/Ta-ra- ra_Boom-de-ay

https://www.youtube.com/watch?v=Y ZlbLj_nlJM 247.34 {Mary, Mary, quite contrary} FW 020, 204, 247, 272, http://en.wikipedia.org/wiki/Mary,_M ary,_Quite_Contrary 321 https://www.youtube.com/watch?v=u 74Z_bLSV7w

FW 248

248.18:8 Pull the boughpee to see {Rockabye, baby} FW 104, 211, 248, 278, how we sleep. Bee Peep! 294, 331, 420, 472, 546, Peepette! 582 248.18:8 Pull the boughpee to see {Little Bo Peep} FW 080, 096, 143, 144, http://en.wikipedia.org/wiki/Little_Bo _Peep how we sleep. Bee Peep! 147, 227, 248, 272, 276, 413, 420, 435, 449, 459, https://www.youtube.com/watch?v=O Peepette! gm9F-HviKQ 478, 478, 500, 500, 500, 502, 508, 540, 563, 571,

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 101 ______

588, 590, 601, 614, 624 248.23:6 Sweet swanwater! {Afton Water} FW 248, 264 http://www.poetryfoundation.org/poe m/173055

https://www.youtube.com/watch?v=8 Zwb-nXN3c4 248.26:7 I’ve a seeklet to sell thee [I’ve a secret to tell thee {Oh FW 248 http://www.musicanet.org/robokopp/ eire/iveasecr.htm Southern Breeze}] 248.26:14 old Deanns won’t be [Nay, tell me not, dear, that FW 248, 361 http://www.musicanet.org/robokopp/ eire/naytellm.htm threaspanning. the goblet drowns {Dennis, don’t be threatening}]

FW 249

249.01:9 When here who adolls me [When he who adores thee FW 249 http://www.youtube.com/watch?v=L NeQT5B-O5I infuxes sleep {The Fox’s sleep}] 249.30:3 It was her, boy the boy {Waiting at the Church} FW 135, 249 http://en.wikipedia.org/wiki/Waiting_ at_the_Church that was loft in the https://www.youtube.com/watch?v=A toAEWmiwb8

FW 250

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 102 ______

250.05:4 that’s hit on a shorn stile? [The Lament of the Irish FW 093, 147, 190-191, http://www.bartleby.com/101/691.htm l Emigrant {I’m sitting on the 250, 437, 441, 445, 493 stile, Mary}] https://www.youtube.com/watch?v=G D1g0wjvxQk 250.12:10 For you’ve jollywelly {Polly Wolly Doodle} FW 240, 250, 328, 346, http://en.wikipedia.org/wiki/Polly_W olly_Doodle dawdled all the day. 379, 454, 486, 508 https://www.youtube.com/watch?v=8 COB4_i5rcA 250.19:1 Lel lols for libelman {A was an Archer} FW 005, 019, 072, 080, http://www.mamalisa.com/?t=hes&p= 1375 libling his lore. 226, 228, 242, 250, 293, 302, 314, 319, 404, 603 250.25:7 Behind, me, frees from {Where is the slave so lowly?} FW 190, 209, 250, 316, http://www.musicanet.org/robokopp/ eire/ohwheres.htm evil smells! Perdition 457 stinks before us. 250.31:6 Voolykins’ diamondinah’s {Villikins and His Dinah} FW 106, 250 http://mudcat.org/@displaysong.cfm?S ongID=7542 vestin. https://www.youtube.com/watch?v=G nY8zf2Trbw 250.32:7 While all the fauns’ flares {Mary had a little lamb} FW 250, 440 http://en.wikipedia.org/wiki/Mary_H ad_a_Little_Lamb widens wild to see a https://www.youtube.com/watch?v=v floral’s school. R-c0pQtJcM

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 103 ______

250.36:1 We haul minymony on {The Camptown Races} FW 250-251 http://en.wikipedia.org/wiki/Campto wn_Races that piebold nig. Will any https://www.youtube.com/watch?v=C dubble dabble on the bay? 4NVg8i8i1Y

FW 251

251.35:1 But listen to the mocking {Listen to the Mocking Bird} FW 251, 476 http://en.wikipedia.org/wiki/Listen_to _the_Mocking_Bird birde to micking barde https://www.youtube.com/watch?v=G making bared! vr3lbxi1a0 251.36:8 As he was queering [. . .] {As I was Going up one pair FW 251-252, 424-425 Souwouyou. of stairs} 251.36:8 As he was queering [. . .] {As I was going to St. Ives} FW 012, 102, 147, 215, http://en.wikipedia.org/wiki/As_I_wa s_going_to_St_Ives Souwouyou. 252, 291, 330, 390, 523, 552, 614 https://www.youtube.com/watch?v=M Lb2KDAITlI

FW 252

252.28:6 Charley, you’re my {Charley is My Darling} FW 252, 443, 504 http://en.wikipedia.org/wiki/Charlie_I s_My_Darling_(song)

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 104 ______

darwing! https://www.youtube.com/watch?v=g a4VNQ_7Sto

FW 253

253.04 {Look at Me Now} FW 253 253.13:10 in case of the event {Lochiel’s Warning} FW 238, 253, 583 http://allpoetry.com/poem/8458117- Lochiels_Warning-by- coming off beforehand Thomas_Campbell 253.17:6 come into the garner {Come into the Garden, FW 253, 328, 405, 446 http://www.bartleby.com/246/390.htm l mauve Maud} http://www.victorianweb.org/mt/parl orsongs/8.html 253.21:1 hole in the ballet {Your Laughter I’ll Try to FW 211, 253 http://books.google.ro/books?id=VWQ LAAAAYAAJ&pg=PA130&lpg=PA130 Provoke} &dq=Your+Laughter+I%E2%80%99ll+T ry+to+Provoke&source=bl&ots=HL1oh3 MK1A&sig=I9SGgL5KAQr8LIFSQ3tfGJ MSDs4&hl=en&sa=X&ei=_w6EUZ6pMs rltQa1g4GwAw&redir_esc=y#v=onepag e&q=Your%20Laughter%20I%E2%80%9 9ll%20Try%20to%20Provoke&f=false

FW 254

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 105 ______

254.20:1 Hocus Crocus, Esquilocus, {Hokey Pokey} FW 071, 078, 234, 254, http://en.wikipedia.org/wiki/Hokey_c okey 256, 315, 368, 542, 558 https://www.youtube.com/watch?v=o kEBfQk6SXI 254.20:1 Hocus Crocus, Esquilocus, {The King of the Cannibal FW 078, 254, 315, https://www.youtube.com/watch?v=E rFuLu_YS88 Isles} 600

FW 256

256.02:1 hokey or mehokeypoo {Hokey Pokey} FW 071, 078, 234, 254, http://en.wikipedia.org/wiki/Hokey_c okey 256, 315, 368, 542, 558 https://www.youtube.com/watch?v=o kEBfQk6SXI 256.05:11 every blessed brigid came {Who killed Cock Robin?} FW 006, 007, 095, 211, http://en.wikipedia.org/wiki/Cock_Ro bin aclucking and aclacking 245, 256, 328, 333, 353, 361, 362, 383, 384, 568, https://www.youtube.com/watch?v=E g2F-I5bMIo 588 256.06:7 a rum a rum, the ram of all {The Wren, The Wren, the FW 044, 045, 046, 105, http://www.musicanet.org/robokopp/ scottish/thewren.htm harns king of all birds} 256, 340, 348, 355, 363, 376, 430, 431, 504 https://www.youtube.com/watch?v=h X7icoFY0U0 256.11:5 Blare no more {Fear no more the heat o’ the FW 020, 256 http://www.poemtree.com/poems/Fea rNoMoreTheHeat.htm

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 106 ______

sun} https://www.youtube.com/watch?v=L GcuFWpT0G0 256.12:2 and cease your fumings {Cease your funning} FW 256 http://www.recmusic.org/lieder/get_t ext.html?TextId=27428

https://www.youtube.com/watch?v=O OHi_I7uJpI 256.23:3 why is limbo where is he {Who Is Sylvia?} FW 211, 256 http://www.poemtree.com/poems/Wh oIsSylvia.htm

https://www.youtube.com/watch?v=Y CVid-GgZ0o 256.23:10 what are the sound waves {What Are the Wild Waves FW 256 http://www.bartleby.com/100/477.htm l saying ceased ere they all Saying?} wayed wrong

FW 257

257.01:1 What is a maid today {O Mister Porter, Whatever FW 135, 222, 257, 335, http://www.musicsmiles.com/oh_mr_ porter!.htm todo? Shall I Do?} 493, 560, 571 https://www.youtube.com/watch?v=e- RpyLmIn3k 257.01:1 What is a maid today {I’ve a terrible lot to do today} FW 067, 111, 257, 381 todo?

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 107 ______

257.04:5 trippiza trappaza [. . .] {This is the way the ladies FW 007, 040, 102, 140, http://www.rhymes.org.uk/a102-this- is-the-way-the-ladies-ride.htm nin nin nin nin [. . .] ride} 257, 490, 554, 583 https://www.youtube.com/watch?v=2 ninned nin nin nin nin x_WjjaI9jE 257.10:3 old Father Barley how he {O My Aged Uncle Arley} FW 257, 339 http://www.nonsenselit.org/Lear/pw/ arly.html got up of a morning arley [. . .] bold Farmer Burleigh [. . .] Wold Forrester Farley 257.25:2 in deesperation [. . .] {The Bells of Shandon} FW 139, 140-141, 257, http://www.bartleby.com/250/83.html

lound 393, 431, 445, 483, 557- https://www.youtube.com/watch?v=G 558 TUv9UGKem8 257.31:1 The play thou {The Day Thou Gavest, Lord, FW 257, 346, 598 http://cyberhymnal.org/htm/d/a/day thoug.htm schouwburgst, Game, here Is Ended} https://www.youtube.com/watch?v=F endeth. TeGSG50JBE 257.33:1 Uplouderamain! {Father O’Flynn} FW 089, 095, 101, 183, http://www.ireland- information.com/irishmusic/fatherofly 237, 257, 265, 279, 338, nn.shtml 350, 408, 419, 439, 454, https://www.youtube.com/watch?v=0 512, 562 g1bBvTg1bU

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 108 ______

FW 258

258. 02:1 Gttrdmmrng. {Die Götterdämmerung} FW 017, 068, 258 http://en.wikipedia.org/wiki/G%C3% B6tterd%C3%A4mmerung

https://www.youtube.com/watch?v=- UWhK1zHcMI 258.05:2 buncskleydoodle! {Yankee Doodle} FW 071, 258, 329, 376, http://en.wikipedia.org/wiki/Yankee_ Doodle 404, 418, 464, 622 https://www.youtube.com/watch?v=Iz RhFH5OyHo 258.08:11 To Mezouzalem with the {Kafoozalem} FW 258, 355 http://www.ibiblio.org/bawdy/ballads /kafoozalem.html Dephilim, didits dinkun’s dud? 258.08:11 To Mezouzalem with the {Finnegan’s Wake} FW 004, 005, 006, 015, https://www.youtube.com/watch?v=q 6CHq9mXkJ8 Dephilim, didits dinkun’s 024, 034, 074, 089, 093, dud? 105, 143, 176, 221, 240, 258, 276, 297, 313-314, 317, 321, 332, 337, 347, 351, 357, 358, 375, 379, 415, 453, 496-497, 499, 503, 506, 511, 519, 531,

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 109 ______

537, 576, 580, 594, 607, 617, 621, 621, 628

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 110 ______

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 111 ______

10. Episode Ten (49 pages, from 260 to 308)

FW FW Text Song Song Frequency Song information Address

FW 260

260.02:5 . Tea tea too oo. {Tea for Two} FW 065, 119, 145, 246, http://en.wikipedia.org/wiki/Tea_for_ Two_(song) 260, 332, 384, 457, 584, 603, 620 http://www.youtube.com/watch?v=y0z c7x434Aw

FW 261

261.16:3 , denary, danery, donnery, {Denary, danery} FW 261 domm, 261.16:3 , denary, danery, donnery, {Eeny, meeny, miny, mo} FW 021, 094, 261 http://en.wikipedia.org/wiki/Eeny,_me eny,_miny,_moe domm, https://www.youtube.com/watch?v=U

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 112 ______

CWu3wQv6k8 261.16:3 , denary, danery, donnery, {Hickory, Dickory, Dock} FW 261, 314, 378 http://en.wikipedia.org/wiki/Hickory_ Dickory_Dock domm, https://www.youtube.com/watch?v=5y nIXFCNjjI 261.27:4 . The babbers ply the pen. {The Farmer in the Dell} FW 236, 262 http://en.wikipedia.org/wiki/The_Far mer_in_the_Dell … tin for ten. https://www.youtube.com/watch?v=kP 9PHArRM3E 261.27:4 . The babbers ply the pen. {The Grand Old Duke of FW 236, 262 http://en.wikipedia.org/wiki/The_Gra nd_Old_Duke_of_York … tin for ten. York} https://www.youtube.com/watch?v=- 5LgybHRDeI

FW 264

264.11:1 Between a stare and a {Between a Kiss and a Sigh} FW 264 http://www.songmeanings.net/songs/ view/3530822107858970643/ sough. https://www.youtube.com/watch?v=24 qXXR9Ldac 264.15:6 Eblinn water, {Afton Water} FW 248, 264 http://www.poetryfoundation.org/poe m/173055

https://www.youtube.com/watch?v=8Z wb-nXN3c4

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 113 ______

264.F3 rose marines {Rose Marie} FW 264, 441 http://en.wikipedia.org/wiki/Rose_Ma rie_(song)

https://www.youtube.com/watch?v=3y tG3wB9c7I

FW 265

265.06:2 . Skole! Agus skole igen! {Father O’Flynn} FW 089, 095, 101, 183, http://www.ireland- nformation.com/irishmusic/fatheroflyn 237, 257, 265, 279, 338, n.shtml 350, 408, 419, 439, 454, https://www.youtube.com/watch?v=0g 512, 562 1bBvTg1bU 265.17:1 ivy and hollywood and {The Holly and the Ivy} FW 058, 059, 097, 147, http://en.wikipedia.org/wiki/The_Holl y_and_the_Ivy bower of mistletoe, 152, 236, 265, 291, 421, 465, 468, 502, 505, 556, https://www.youtube.com/watch?v=Fx H60hIb9TM 588, 616

FW 266

266.01:4 bedelias {Bedelia} FW 266 http://www.halhkmusic.com/orchid/or c21.html

https://www.youtube.com/watch?v=pJ

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 114 ______

D1stZT2mU 266.06.3 . D’Oblong’s by his by. {O Bay of Dublin} FW 029, 071, 201, 266, 290, 303 266.13:6 . Here we’ll dwell on {Here we dwell, in holiest FW 266 http://www.musicanet.org/robokopp/ eire/herewedw.htm homiest powers, bowers} 266.27:4 , O june of eves the {Sweet Genevieve} FW 164, 266 https://www.youtube.com/watch?v=Zc PZ_xRoAds jenniest,

FW 267

267.03:2 , the maymeaminning of {The Young May Moon} FW 065, 099, 201, 245, http://www.bartleby.com/101/582.htm l maimoomeining! 267, 318, 436 https://www.youtube.com/watch?v=H 7a6Y5iDk4A 267.07:5 . Singalingalying. {Sing a song of sixpence} FW 010, 011, 129, 134- http://en.wikipedia.org/wiki/Sing_a_S ong_of_Sixpence 135, 147, 167, 190, 232, 236, 242, 244, 267, 276, https://www.youtube.com/watch?v=gv fdueZecVk 279, 300, 364, 377, 407, 450 267.08:6 followeup {Follow Me Up to Carlow} FW 053, 267, 379, 382, http://www.youtube.com/watch?v=tvE CtlJQ4dU 382, 466, 479, 538

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 115 ______

FW 268

268.04:2 annaryllies. {Amaryllis} FW 180, 184, 268, 609 268.14:4 . Stew of the evening, {Soup of the Evening} FW 268 http://www.elyrics.net/read/a/alice- in-wonderland-lyrics/beautiful-soup- booksyful stew. lyrics.html

https://www.youtube.com/watch?v=YI 62Pmk4kTs

FW 269

269.26:2 . O love it is the {The Barley Corn} FW 269, 270, 334, 589 http://en.wikipedia.org/wiki/John_Barl eycorn commonknounest thing https://www.youtube.com/watch?v=_ how it pashes the plutous NNgLqz89Z8 and the paupe. 269.26:2 . O love it is the {The Sprig of Thyme} FW 161, 269, 334 http://mainlynorfolk.info/joseph.taylor /songs/sprigofthyme.html commonknounest thing https://www.youtube.com/watch?v=R how it pashes the plutous PftoCiTc24 and the paupe.

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 116 ______

269.F1 Is love worth living? {Is Life Worth Living?} FW 230, 269 269.F1 Is love worth living? {Leaving Yet Loving} FW 230, 269 http://nla.gov.au/nla.mus-vn3989753

FW 270

270.20:6 . Alis, alas, she broke the {Amo, Amas, I Love a Lass} FW 270, 407 http://www.horntip.com/mp3/1600s/1 600s-- glass! 1958ca_tavern_songs__the_deller_consor t_(LP)/11_amo_amas_i_love_a_lass.htm

https://www.youtube.com/watch?v=O VJPQXVpKB0 270.25:2 , volve the virgil page {Turn back the virgin page} FW 270, 513 270.26:5 burly {The Barley Corn} FW 269, 270, 334, 589 http://en.wikipedia.org/wiki/John_Barl eycorn

https://www.youtube.com/watch?v=_ NNgLqz89Z8

FW 271

271.17:7 ? Gruff Gunne,may {Willie brewed a peck FW 003, 271, 354, 602 http://www.bbc.co.uk/arts/robertburn s/works/willie_brewd_a_peck_o_maut/ blow… jennings aye. o’maut} https://www.youtube.com/watch?v=M nYmEtym2hM

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 117 ______

271.25:7 ! This is the glider … {The House That Jack Built} FW 008-010, 018, 080, http://en.wikipedia.org/wiki/This_Is_t he_House_That_Jack_Built Gough gave. 106, 205, 271, 274, 369, 375, 439, 476, 511, 580 https://www.youtube.com/watch?v=h GP8wqE0Kkg 271.F5 deadleaf brown with {John Brown’s Body} FW 271, 276, 304, 364, http://en.wikipedia.org/wiki/John_Bro wn's_Body quicksilver appliques 415, 594 https://www.youtube.com/watch?v=js o1YRQnpCI

FW 272

272.01:6 . Why hidest …name? [O breathe not his name {The FW 056, 272, 420 http://www.bartleby.com/297/523.htm l Brown Maid}] 272.01:6 . Why hidest …name? [The Nut Brown Maid] FW 243, 272 http://en.wikipedia.org/wiki/The_Nut- Brown_Maid

https://www.youtube.com/watch?v=R XILQsEQJ-M 272.01:6 . Why hidest thou hinder {When We Two Parted} FW 055, 272 http://www.bartleby.com/101/597.htm l thy husband his name? 272.02:7 ? Leda, Lada, aflutter- {Mary, Mary, quite contrary} FW 020, 204, 247, 272, http://en.wikipedia.org/wiki/Mary,_M ary,_Quite_Contrary afraida, so does your 321 https://www.youtube.com/watch?v=u7 girdle grow! 4Z_bLSV7w

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 118 ______

272.07:3 titties for totties {Come, lasses and lads} FW 130, 272, 290, 341 http://www.folk- lyrics.co.uk/Lyrics/ComeLassesAndLad s

https://www.youtube.com/watch?v=2j- Ai4pQ4f0 272.10:3 sally of the allies, {Sally of the Alley} FW 272, 491, 556 http://www.bartleby.com/101/444.htm l

https://www.youtube.com/watch?v=K buhn6T50CM 272.29:4 . Bull igien bear and then {Old Michael Finnegan} FW 117, 121, 272, 358, http://en.wikipedia.org/wiki/Michael_ Finnegan_{song) bearagain bulligan. 580 https://www.youtube.com/watch?v=j1 qlOaxdy9s 272.29:4 . Bull igien bear and then {Chin Chin Chinaman} FW 057, 058, 075, 082, https://www.youtube.com/watch?v=ku AfeBPZZKc bearagain bulligan. 106, 131, 272, 304, 336, 465, 485, 608, 611, 615 272.F1 What’s that, ma’am? says I. {The Goat} 272.F4 {Little Bo Peep} FW 080, 096, 143, 144, http://en.wikipedia.org/wiki/Little_Bo _Peep 147, 227, 248, 272, 276, 413, 420, 435, 449, 459, https://www.youtube.com/watch?v=O gm9F-HviKQ 478, 478, 500, 500, 500, 502, 508, 540, 563, 571, 588, 590, 601, 614, 624

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 119 ______

FW 273

273.01:1 Curragh machree, {Curragh Machree} FW 273 273.01 – {Ballad of Persse O’Reilly} FW 040-047, 175, 211, http://en.wikipedia.org/wiki/The_Ball ad_of_Persse_O'Reilly 273.02 273, 371, 491, 493, 586 https://www.youtube.com/watch?v=nc 15EGklXQ0 273.03:1 bosthoon fiend. {Paustheen Fionn} FW 092, 095, 100, 273, http://abcnotation.com/tunePage?a=tril lian.mit.edu/~jc/music/book/OFPC/of 412 pc_volume3.txt/0031

https://www.youtube.com/watch?v=Q Wgp2Rg-WsY 273.08:10 So wrap up your worries {Pack up Your Troubles in FW 273 http://en.wikipedia.org/wiki/Pack_Up _Your_Troubles_in_Your_Old_Kit-Bag in your woe ( Your Old Kit Bag} https://www.youtube.com/watch?v=c0 wycVPR_nI

https://www.youtube.com/watch?v=F KXi7zOtqhs 273.08:6 your woe (wumpum- tum!) {Old Uncle Ned} FW 079, 082, 273, 595 http://www.songofamerica.net/cgi- bin/iowa/song/806.html and shake down the https://www.youtube.com/watch?v=- shuffle for the throw. For y4JMnV_-uo

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 120 ______

there’s one mere ope for down- fall ned. 273.19:3 . O what a loovely free- {O What a Lovely Bunch of FW 273 http://www.traditionalmusic.co.uk/folk -song- speech ‘twas ( Cocoanuts} lyrics/Ive_Got_a_Lovely_Bunch_of_Coc onuts.htm

https://www.youtube.com/watch?v=Q qEmAsUXVJY 273.21:1 nappotondus. {The Wearing of the Green} FW 093-094, 273, 321, http://en.wikipedia.org/wiki/The_Wea ring_of_the_Green 341, 345, 408, 411, 464, 516 http://www.youtube.com/watch?v=BK nmNll1AbM 273.N7 My six is no secret, sir, she {Where are you going, my FW 273, 336, 357, 476, http://www.rhymes.org.uk/a112- where-are-you-going-my-pretty- said. pretty maid?} 512 maid.htm

https://www.youtube.com/watch?v=Z TItkM60LY0

FW 274

274.01:5 . For the man that broke {The Man That Broke the FW 071, 090, 232, 274, http://en.wikipedia.org/wiki/The_Man _Who_Broke_the_Bank_at_Monte_Carlo the ranks on Monte Bank at Monte Carlo} 514, 538 _(song)

Sinjon. https://www.youtube.com/watch?v=G

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 121 ______

x1SWS1MFbU 274.22:1 jackhouse that jerry built {The House That Jack Built} FW 008-010, 018, 080, http://en.wikipedia.org/wiki/This_Is_t he_House_That_Jack_Built 106, 205, 271, 274, 369, 375, 439, 476, 511, 580 https://www.youtube.com/watch?v=h GP8wqE0Kkg

FW 275

275.01:2 Bryan Awlining! Erin’s {Brian O’Linn} FW 006, 017, 060, 070, http://chivalry.com/cantaria/lyrics/bri an_olynn.html hircohaired culoteer. 148, 240, 275, 328, 338, 372, 373, 507 https://www.youtube.com/watch?v=R YTQNJlZPT0 275.25:6 where’s may tomorrow be. {O dear, what can the matter FW 028, 225, 275, 621 http://en.wikipedia.org/wiki/Oh_Dear! _What_Can_the_Matter_Be%3F be?} https://www.youtube.com/watch?v=V Ns6ey1Kb9U

FW 276

276.07:8 . Yet sung of love and the [She sung of love {The FW 276 http://www.musicanet.org/robokopp/ eire/shesungo.htm monster man. Munster Mare}] 276.16:4 , the daindy dish, the {Sing a song of sixpence} FW 010, 011, 129, 134- http://en.wikipedia.org/wiki/Sing_a_S ong_of_Sixpence

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 122 ______

lecking out! 135, 147, 167, 190, 232, https://www.youtube.com/watch?v=gv 236, 242, 244, 267, 276, fdueZecVk 279, 300, 364, 377, 407, 450

276.16:4 , the daindy dish, the {The rantin’ dog, the daddy FW 276, 431, 446 http://www.bbc.co.uk/arts/robertburn s/works/the_rantin_dog_the_daddie_ot lecking out! o’t} /

https://www.youtube.com/watch?v=E VqT7QFTdwY 276.20:8 peepee- {Little Bo Peep} FW 080, 096, 143, 144, http://en.wikipedia.org/wiki/Little_Bo _Peep 147, 227, 248, 272, 276, 413, 420, 435, 449, 459, https://www.youtube.com/watch?v=O gm9F-HviKQ 478, 478, 500, 500, 500, 502, 508, 540, 563, 571, 588, 590, 601, 614, 624 276.21:2 . At Brannan’s on the {Brennan on the Moor} FW 211, 276 http://martindardis.com/id400.html

moor. https://www.youtube.com/watch?v=W hCtS7lP4Aw 276.21:7 . At Tam Fanagan’s weak {Finnegan’s Wake} FW 004, 005, 006, 015, https://www.youtube.com/watch?v=q6 CHq9mXkJ8 024, 034, 074, 089, 093, 105, 143, 176, 221, 240,

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 123 ______

258, 276, 297, 313-314, 317, 321, 332, 337, 347, 351, 357, 358, 375, 379, 415, 453, 496-497, 499, 503, 506, 511, 519, 531, 537, 576, 580, 594, 607, 617, 621, 621, 628 276.22:3 yat his still’s going strang. {John Brown’s Body} FW 271, 276, 304, 364, http://en.wikipedia.org/wiki/John_Bro wn's_Body 415, 594 https://www.youtube.com/watch?v=js o1YRQnpCI 276.F2 jollycomes smashing {When Johnny Comes FW 276, 473 http://en.wikipedia.org/wiki/When_Jo hnny_Comes_Marching_Home Holmes. Marching Home} https://www.youtube.com/watch?v=4tI sXLyZcWI 276.F4 I do, Ida. {Ida, Sweet as Apple Cider} FW 211, 276 https://www.youtube.com/watch?v=m tkv9Zigbgg 276.F4 I do, Ida. {Ida Lee} FW 211, 276 https://www.youtube.com/watch?v=7 CrhYGDJLGU 276.F4 Parley vows {Mademoiselle from FW 064, 075, 230, 276 http://en.wikipedia.org/wiki/Mademoi selle_from_Armenti%C3%A8res Armentières} https://www.youtube.com/watch?v=hz b7yMOW5OA

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 124 ______

FW 277

277.07:1 the mountain mourning {The Mountains of Mourne} FW 247, 277, 462, 623 http://en.wikipedia.org/wiki/The_Mou ntains_of_Mourne his duggedy dew. https://www.youtube.com/watch?v=I4 M_0Bvk10Q 277.07:1 the mountain mourning {The Mountain Dew} FW 095, 136, 277, 372 http://en.wikipedia.org/wiki/Good_Ol d_Mountain_Dew his duggedy dew. https://www.youtube.com/watch?v=ug 8p5pVsj9U 277.07:1 the mountain mourning {The Foggy Dew} FW 024, 116, 277, 367, http://en.wikipedia.org/wiki/Foggy_D ew his duggedy dew. 42 https://www.youtube.com/watch?v=dS s2VJBfOUo 277.07:1 the mountain mourning {Dig-a-dig-a-do} FW 277, 586 http://www.songmeanings.net/songs/ view/3530822107859440063/ his duggedy dew. https://www.youtube.com/watch?v=id c76Dp2H8s 277.11:1 Mishy Mushy {Mush Mush} FW 003, 277, 457, 466, http://www.irishsongs.com/lyrics.php? Action=view&Song_id=251 505 https://www.youtube.com/watch?v=Ea 0Xr9DGZKw 277.16 {Little Black Rose} FW 277, 583 http://www.irishfestivals.net/littleblack rose.htm

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 125 ______

277.16:9 a truant in a thorntree. {The Twelve Days of FW 070, 277, 291 http://en.wikipedia.org/wiki/The_Twe lve_Days_of_Christmas_(song) Christmas} https://www.youtube.com/watch?v=DJ XqRFwtjKQ 277.23:2 the pipers done. {Tom, Tom, the Piper’s Son} FW 176, 277, 371, 385 http://en.wikipedia.org/wiki/Tom,_To m,_the_Piper's_Son

https://www.youtube.com/watch?v=27 gT8eAVuyE

FW 278

278.18:1 When men want … raze a {One Man Went to Mow a FW 278 http://bussongs.com/songs/one-man- went-to-mow.php leader. Meadow} https://www.youtube.com/watch?v=qf xOwZU6ecY 278.20:1 Rockaby, babel, flatten a {Rockabye, baby} FW 104, 211, 248, 278, http://en.wikipedia.org/wiki/Rock-a- bye_Baby wall. 294, 331, 420, 472, 546, 582 https://www.youtube.com/watch?v=y VLDi-FFjVo

FW 279

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 126 ______

279.07:5 . Ah ah athclete, {Baa, baa, black sheep} FW 051, 133, 148, 279, http://en.wikipedia.org/wiki/Baa,_Baa, _Black_Sheep 300, 301 https://www.youtube.com/watch?v=g3 xtMZvG2WI 279.F1 The good forther [. . .] {Sinn Fein, Sinn Fein FW 042, 074, 279, 311, http://en.wikipedia.org/wiki/Sinn_F% C3%A9in Amum. Amum. And Amhain} 324, 593, 614, 623 (Wikipedia does not mention a corresponding song, but we trust Hodgart Amum again. & Worthington that a corresponding song must necessarily exist. Alternatively, they might assign the chanting of this political slogan the full status of a song…) 279.F1 The good forther [. . .] {Father O’Flynn} FW 089, 095, 101, 183, http://www.ireland- information.com/irishmusic/fatheroflyn Amum. Amum. And 237, 257, 265, 279, 338, n.shtml 350, 408, 419, 439, 454, Amum again. https://www.youtube.com/watch?v=0g 512, 562 1bBvTg1bU

FW 281

281.05:2 Totty Askins. {Tommy Atkins} FW 125, 241, 281, 350, http://www.halhkmusic.com/gaietygirl /agg11.html 436, 588

FW 282

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 127 ______

282.F3 But where, O where, is me {Where, O Where Has My FW 282 http://www.kidsongs.com/lyrics/wher e-oh-where-has-my-little-dog-gone.html lickle dig done? Little Dog Gone?} https://www.youtube.com/watch?v=ny vTij-AdAM

FW 284

284.F3 {Come all ye} FW 284, 295, 339, 432, https://en.wikipedia.org/wiki/Adeste_ Fideles 585, 585, etc. https://www.youtube.com/watch?v=R wogLAZaSkY

https://www.youtube.com/watch?v=n8 Vm-abwPAI

FW 285

285.03:4 knuts in maze, {Here we go gathering nuts in FW 176, 226, 285, 490 http://bussongs.com/songs/here-we- go-gathering-nuts-in-may.php May} https://www.youtube.com/watch?v=x5 5Mtvea9n8 285.15:1 Arthurgink's hussies and {Humpty Dumpty} FW 003, 007, 012, 013, http://en.wikipedia.org/wiki/Humpty_

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 128 ______

Everguin's men. 013, 017, 029, 029, 044- Dumpty

047, 099, 106, 129, 163, https://www.youtube.com/watch?v=h1 175, 184, 219, 230, 285, fiPIhGXYA 294, 296, 314, 317, 319, 320, 325, 334, 341, 343, 352, 372, 373, 374, 375, 386, 415, 422, 434, 455, 466, 496, 504, 550, 567, 568, 596, 606, 614, 614, 619, 619

FW 286

286.15:6 . Dear hearts of my {Dear harp of my country} FW 286 http://www.poemhunter.com/poem/d ear-harp-of-my-country/ counting, https://www.youtube.com/watch?v=Tl NnA0yW_m4

FW 287

287.02:8 goosey’s ganswer {Goosey, Goosey Gander} FW 287 http://en.wikipedia.org/wiki/Goosey_

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 129 ______

Goosey_Gander

https://www.youtube.com/watch?v=v VbBqdmYW1g 287.05:1 royol road to Puddlin, {The Rocky Road to Dublin} FW 014, 064, 197, 244, http://en.wikipedia.org/wiki/Rocky_R oad_to_Dublin 287, 315, 323, 328, 341, 355, 514, 555, 565, 623 http://www.youtube.com/watch?v=yv vMuJ_VeX4 287.25:2 : totum tute…mundo {Tutto il mondo} FW 287 http://en.wikipedia.org/wiki/Falstaff_( opera)

https://www.youtube.com/watch?v=L9 o4TuDsVGo

FW 288

288.01:3 a dillon a dollar, {A Dillar, a Dollar} FW 288, 427 http://www.grandmasnurseryrhymes.c om/adillaradollar.html 288.05:8 , he, to don’t say nothing {Old Man River} FW 288, 363, 364, 599 http://en.wikipedia.org/wiki/Ol'_Man_ River

https://www.youtube.com/watch?v=eh 9WayN7R-s 288.10:4 thirds the charmhim {It is a charming girl I love} FW 288, 556 http://lcweb2.loc.gov/diglib/ihas/loc. music.sm1875.12982/default.html girlalove

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 130 ______

FW 289

289.01:10 weights downupon the {Old Folks at Home} FW 289, 316, 390, 431, http://en.wikipedia.org/wiki/Old_Folk s_at_Home Swanny, 455, 512, 581, 599-600 http://www.youtube.com/watch?v=oN 0eFJxf_Vk 289.05:6 queen’s pottage post {Pease porridge hot} FW 289, 395 http://en.wikipedia.org/wiki/Pease_Po rridge_Hot

https://www.youtube.com/watch?v=D pH4I5Vye3Q 289.09:8 Derzherr, live wire, … {There’s Hair Like Wire FW 004, 106, 169, 289, outa th’Empyre, Coming out of the Empire} 328, 516 289.17:5 puddywhack, {Paddy Whack} FW 064, 086, 289, 346, http://www.lyrics007.com/Paddy%20K elly%20Lyrics/Knick-Knack-Paddy- 353, 378, 596 Wack%20Lyrics.html

https://www.youtube.com/watch?v=ra Id3MOU2Es 289.28:7 , Liv’s lonely daughter, [Silent, O Moyle {Song of FW 289, 546, 548 http://www.james-joyce- music.com/song02_lyrics.html Fionnuala}] https://www.youtube.com/watch?v=Cc Q13LZCcSc

FW 290

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 131 ______

290.03 {Peg o’ My Heart} FW 143, 290, 577 http://en.wikipedia.org/wiki/Peg_o'_M y_Heart

https://www.youtube.com/watch?v=m WODupYEMDI 290.16:8 , doubling back, {O Bay of Dublin} FW 029, 071, 201, 266, 290, 303 290.21:6 tubatubtub {Rub-a-dub-dub} FW 178, 239, 290, 351 http://en.wikipedia.org/wiki/Rub-a- dub-dub

http://www.youtube.com/watch?v=x2v Z6Z_gG0E 290.22:2 , to pure where they where {She Was Poor but She Was FW 290 http://monologues.co.uk/003/Poor_But _Honest.htm hornest girls, Honest} https://www.youtube.com/watch?v=m KhcQmIiJys 290.25:3 , come messes, come {Come, lasses and lads} FW 130, 272, 290, 341 http://www.folk- lyrics.co.uk/Lyrics/ComeLassesAndLad mams, s

https://www.youtube.com/watch?v=2j- Ai4pQ4f0 290.F3 Rawrogerum {Old Roger is dead and gone FW 240, 290 http://www.traditionalmusic.co.uk/tra ditional-games-2/traditional-games- to his grave} 2%20-%200120.htm#.UYJyTbXIvQo

https://www.youtube.com/watch?v=k mATYSi9pGg

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 132 ______

FW 291

291.01:8 Saint Yves… ives {As I was going to St. Ives} FW 012, 102, 147, 215, http://en.wikipedia.org/wiki/As_I_was _going_to_St_Ives 252, 291, 330, 390, 523, 552, 614 https://www.youtube.com/watch?v=M Lb2KDAITlI 291.05:5 , given the bird, … {The Twelve Days of FW 070, 277, 291 http://en.wikipedia.org/wiki/The_Twe lve_Days_of_Christmas_(song) peartree, Christmas} https://www.youtube.com/watch?v=DJ XqRFwtjKQ 291.09:8 ives …, hollyboys, {The Holly and the Ivy} FW 058, 059, 097, 147, http://en.wikipedia.org/wiki/The_Holl y_and_the_Ivy 152, 236, 265, 291, 421, 465, 468, 502, 505, 556, https://www.youtube.com/watch?v=Fx H60hIb9TM 588, 616 291.11:8 , burryripe who’ll buy?, {Cherry Ripe} FW 162, 291, 508 http://en.wikipedia.org/wiki/Cherry_R ipe_(song)

https://www.youtube.com/watch?v=T KX3JS3A9cs 291.28:2 a wrigular writher {A right down regular royal FW 019, 108, 291, 381, https://www.youtube.com/watch?v=ye 38d7HJO3E neonovene babe! Queen} 424

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 133 ______

FW 292

292.02:10 (it’s life that’s all chokered [This life is all chequered FW 292 http://www.irishmusicforever.com/this -life-is-all-checkered-with-pleasures-and- by that batch of grim {The bunch of green rushes woes-thomas-moore that grew at the brim}] rushers) https://www.youtube.com/watch?v=3 Avaz1BEksI 292.12:3 più la gonna è {La donna è mobile} FW 292, 309 http://en.wikipedia.org/wiki/La_donn a_%C3%A8_mobile mobile and .˙. https://www.youtube.com/watch?v=5ij 8HyYMiUo 292.25:1 hark back to lark {Hark, hark, the lark} FW 292 http://www.bartleby.com/331/5.html

http://www.youtube.com/watch?v=ed2 QOejgxfY

FW 293

293.12:4 , ‘twas one of dozedeams a [‘Twas one of those dreams FW 293 http://www.musicanet.org/robokopp/ eire/twas1oft.htm darkies ding in dewood) that by music are brought {The song of the woods}] https://www.youtube.com/watch?v=_v lpZbXueRQ 293.18:5 , A is for Anna like L is for {A was an Archer} FW 005, 019, 072, 080, http://www.mamalisa.com/?t=hes&p= 1375 226, 228, 242, 250, 293,

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 134 ______

liv 302, 314, 319, 404, 603 293.F1 where the betterlies blow. {Have you seen but a white FW 203, 293 http://www.boysoloist.com/lyrics.asp? TrackID=24367&AlbumID=4533&ArtistI lily grow?} D=2479

https://www.youtube.com/watch?v=N ooa0wnlrYQ

FW 294

294.25:4 !) By his magmasine fall. {Humpty Dumpty} FW 003, 007, 012, 013, http://en.wikipedia.org/wiki/Humpty_ Dumpty Lumps, lavas and all. 013, 017, 029, 029, 044- 047, 099, 106, 129, 163, https://www.youtube.com/watch?v=h1 fiPIhGXYA 175, 184, 219, 230, 285, 294, 296, 314, 317, 319, 320, 325, 334, 341, 343, 352, 372, 373, 374, 375, 386, 415, 422, 434, 455, 466, 496, 504, 550, 567, 568, 596, 606, 614, 614, 619, 619

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 135 ______

294.25:4 !) By his magmasine fall. {Rockabye, baby} FW 104, 211, 248, 278, http://en.wikipedia.org/wiki/Rock-a- bye_Baby Lumps, lavas and all. 294, 331, 420, 472, 546, 582 https://www.youtube.com/watch?v=y VLDi-FFjVo 294.28:6 our callback mother {Coal Black Mammie} FW 194, 294 https://www.youtube.com/watch?v=xx H-Sp8thxY

FW 295

295.03:3 night of thoughtsendyures {The Night Has a Thousand FW 295 http://www.bartleby.com/246/979.htm l and a day. Eyes} 295.05:8 lil murrerof myhind, {Little Mother of Mine} FW 295 https://www.youtube.com/watch?v=B DFj0VUiVEU

295.05:8 lil murrerof myhind, {Mother of Mine} FW 295, 340, 408, 426 http://www.lyricsfreak.com/n/neil+rei d/mother+of+mine_20877027.html

https://www.youtube.com/watch?v=7 W3xSDhxL_Q 295.12:5 comeallyoum {Cummilium} FW 088, 295, 624 295.12:5 comeallyoum {Come all ye} FW 284, 295, 339, 432, https://en.wikipedia.org/wiki/Adeste_ Fideles 585, 585, etc. https://www.youtube.com/watch?v=R wogLAZaSkY

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 136 ______

https://www.youtube.com/watch?v=n8 Vm-abwPAI 295.12:5 comeallyoum saunds. {Come unto these yellow FW 295 http://www.bachlund.org/Come_unto_ these_yellow_sands.htm sands} https://www.youtube.com/watch?v=U 9aPKyyJDvI 295.13:3 I dromed I was in Dairy {I dreamt I was in Derry} FW 295 295.32:2 in their suite poi and poi, {In the Sweet Bye and Bye} FW 161, 295 http://en.wikipedia.org/wiki/In_the_S weet_By-and-By

https://www.youtube.com/watch?v=u5 AcjxFFkCE 295.F2 twinkletinkle {Twinkle, twinkle, little star} FW 295, 460 http://en.wikipedia.org/wiki/Twinkle_ Twinkle_Little_Star

https://www.youtube.com/watch?v=03 alr9k5tjU

FW 296

296.13:7 . Are you right there, {Are Ye Right There, Michael, FW 066, 296, 378 http://en.wikipedia.org/wiki/Are_Ye_ Right_There_Michael Michael, … it suits me Are Ye Right?} https://www.youtube.com/watch?v=7 mikey fine. w7eH6JuL50 296.21 {Humpty Dumpty} FW 003, 007, 012, 013, http://en.wikipedia.org/wiki/Humpty_ Dumpty

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 137 ______

013, 017, 029, 029, 044- https://www.youtube.com/watch?v=h1 047, 099, 106, 129, 163, fiPIhGXYA 175, 184, 219, 230, 285, 294, 296, 314, 317, 319, 320, 325, 334, 341, 343, 352, 372, 373, 374, 375, 386, 415, 422, 434, 455, 466, 496, 504, 550, 567, 568, 596, 606, 614, 614, 619, 619

FW 297

297.04:6 ! Fin for fun! {Finnegan’s Wake} FW 004, 005, 006, 015, https://www.youtube.com/watch?v=q6 CHq9mXkJ8 024, 034, 074, 089, 093, 105, 143, 176, 221, 240, 258, 276, 297, 313-314, 317, 321, 332, 337, 347, 351, 357, 358, 375, 379, 415, 453, 496-497, 499,

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 138 ______

503, 506, 511, 519, 531, 537, 576, 580, 594, 607, 617, 621, 621, 628 297.16:4 ! And this is what you’ll {So go to him and say to him} FW 297 http://en.wikipedia.org/wiki/Patience_ (opera) say. https://www.youtube.com/watch?v=B- w7CE5I7Rk 297.18:1 (for addn’t we to gayatsee {Phil the Fluter’s Ball} FW 006, 012, 043, 058, http://en.wikisource.org/wiki/Phil_the _Fluther%27s_Ball with Puhl the Punkah’s 063, 076, 230, 240, 297, 318, 319, 335, 341, 351, http://www.youtube.com/watch?v=_x_ bell?) 50hB3lCM 363, 444, 531 297.21:6 (your sow to the duble) {Finnegan’s Wake} FW 004, 005, 006, 015, https://www.youtube.com/watch?v=q6 CHq9mXkJ8 024, 034, 074, 089, 093, 105, 143, 176, 221, 240, 258, 276, 297, 313-314, 317, 321, 332, 337, 347, 351, 357, 358, 375, 379, 415, 453, 496-497, 499, 503, 506, 511, 519, 531, 537, 576, 580, 594, 607, 617, 621, 621, 628

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 139 ______

297.24:5 , fiho miho, {Di Provenza il mar} FW 297 http://en.wikipedia.org/wiki/La_travia ta

https://www.youtube.com/watch?v=dS oP6agrRy4 297.28:6 the lass that lured a {The Lass that Loves a Sailor} FW 297, 324, 440 http://www.james-joyce- music.com/extras/lasslovesailor.html tailor?) http://www.youtube.com/watch?v=jjz3 nnQ2q3E

FW 300

300.09.R SICK US A SOCK {Sing a song of sixpence} FW 010, 011, 129, 134- http://en.wikipedia.org/wiki/Sing_a_S ong_of_Sixpence 135, 147, 167, 190, 232, 236, 242, 244, 267, 276, https://www.youtube.com/watch?v=gv fdueZecVk 279, 300, 364, 377, 407, 450 300.11:9 sweet me ah err eye ear {Sweet Marie} FW 300 http://ingeb.org/songs/sweetmar.html

marie https://www.youtube.com/watch?v=F0 6IElvdzGw

FW 301

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 140 ______

301.06:3 blaablaablack sheep. {Baa, baa, black sheep} FW 051, 133, 148, 279, http://en.wikipedia.org/wiki/Baa,_Baa, _Black_Sheep 300, 301 https://www.youtube.com/watch?v=g3 xtMZvG2WI 301.16:2 trieste, ah trieste ate I my {Triste, triste, était mon âme} FW 301 (Verlaine: https://www.youtube.com/watch?v=Je liver! dnOHRZMdY) 301.16:9 ! Se non é vero son {Il Trovatore} FW 301, 341, 366 http://en.wikipedia.org/wiki/Il_trovato re trovatore. https://www.youtube.com/watch?v=r Ms3Yrp4W0w 301.19:4 purate out of pensionee {The Pirates of Penzance} FW 301 https://en.wikipedia.org/wiki/The_Pir ates_of_Penzance

https://www.youtube.com/watch?v=iA c5Z89SjH8

FW 302

302.13:9 Skibbering’s {Old Skibbereen} FW 210, 302, 315 http://en.wikipedia.org/wiki/Skibberee n_{song)

http://www.youtube.com/watch?v=DP 8PB3viZck 302.21:10 . Ohr for oral, {A was an Archer} FW 005, 019, 072, 080, http://www.mamalisa.com/?t=hes&p= 1375 226, 228, 242, 250, 293,

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 141 ______

302, 314, 319, 404, 603

FW 303

303.07:7 Doubbllinnbbayyates. {O Bay of Dublin} FW 029, 071, 201, 266, 290, 303 303.12 {Danny Boy} FW 051, 303 http://en.wikipedia.org/wiki/Danny_B oy

https://www.youtube.com/watch?v=m zL-eGDYIJA

FW 304

304.03:1 Formalisa. Loves {Liebestod} FW 017, 018, 040, 057, http://en.wikipedia.org/wiki/Liebestod https://www.youtube.com/watch?v=_ deathhow simple! 133, 304, 388, 398, 424 mOA8pZ_I4M 304.12:1 bugaboo {Aboard the Bugaboo} FW 304, 372 http://www.traditionalmusic.co.uk/son gster/05-the- bugaboo.htm#.UYPBgrXIvQo 304.30:6 , singing glory {John Brown’s Body} FW 271, 276, 304, 364, http://en.wikipedia.org/wiki/John_Bro wn's_Body allaloserem, 415, 594 https://www.youtube.com/watch?v=js o1YRQnpCI

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 142 ______

FW 305

305.08.R THIGH-THIGHT- {Hi-tiddley-hi-ti} FW 305, 408, 607 http://www.traditionalmusic.co.uk/for mby-song-book/hi_tiddley_hi_ti_island- TICKELLY-THIGH 1937.htm

https://www.youtube.com/watch?v=2 MS_pJvlV58 305.15.R LUG IN A LAW [No, not more welcome the FW 203, 305, 553 http://www.litscape.com/author/Thom as_Moore/No_Not_More_Welcome_The fairy numbers {Luggelaw}] _Fairy_Numbers.html 305.28:5 . Ovocation of maiding {The Meeting of the Waters} FW 096, 159, 203, 305, http://www.traditionalmusic.co.uk/son g- waters. 345, 446, 466, 471-472, midis/Meeting_of_the_Waters_{Original 505, 587, 605 ).htm#.UXVsBbXIvQo

https://www.youtube.com/watch?v=X VcwToW6chk 305.29:3 . For auld lang salvy {Auld Lang Syne} FW 087, 096, 112, 238, http://en.wikipedia.org/wiki/Auld_La ng_Syne steyne. 305, 384, 386, 389, 390, 393, 397, 398, 406, 468, https://www.youtube.com/watch?v=ac xnmaVTlZA 584 https://www.youtube.com/watch?v=aL AAHs1ohxg

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 143 ______

FW 306

306.10:2 ? Steady… steady {Hearts of Oak} FW 306, 448, 545, 577 http://en.wikipedia.org/wiki/Heart_of _Oak

http://www.youtube.com/watch?v=4N XFCDgyanA

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 144 ______

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 145 ______

11. FW Episode Eleven (74 pages, from 309 to 382)

FW FW Text Song Song Frequency Song information Address

FW 309

309.19:4 Bellini-Tosti [. . .] {Good-bye, Summer} FW 073, 309, 453, 455 skybuddies 309.21:6 woman formed mobile {La donna è mobile} FW 292, 309 http://en.wikipedia.org/wiki/La_donn a_%C3%A8_mobile

https://www.youtube.com/watch?v=5ij 8HyYMiUo 309.22:5 bawling the whowle {Ballin’ the Jack} FW 309 http://en.wikipedia.org/wiki/Ballin'_th e_Jack hamshack http://www.youtube.com/watch?v=hZ aVIBiGEic 309.24:6 allirish earths and ohmes. {Old Ireland’s Hearts and FW 309-310 http://www.traditionalmusic.co.uk/son gster/38-old-irelands-hearts-and-

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 146 ______

Hands} hands.htm#.UXJoYrXIvQo

FW 310

310.19:7 buckling, hummer, enville {A Frog he would a-wooing FW 152, 310, 484 http://en.wikisource.org/wiki/Frog_W ent_A-Courting and cstorrap go} http://www.youtube.com/watch?v=dQ O8xGV-9So 310.23:6 the mummery of whose {The Memory of the Dead} FW 034, 093, 125, 135, http://www.workersliberty.org/story/2 008/07/01/memory-dead deed 310, 324, 413, 553 https://www.youtube.com/watch?v=xe SW-bKMuu8

FW 311

311.02:10 a sink her sailer {Rich man, poor man, beggar FW 057, 079, 132, 144, http://en.wikipedia.org/wiki/Tinker,_T ailor man, thief} 202, 311, 317 311.06:4 lives thor a toyler in the {There is A Tavern in the FW 103, 311, 599 http://www.ezfolk.com/lyrics/qrst/t/t here-is-a-tavern-in-the-town/there-is-a- tawn Town} tavern-in-the-town.html

http://www.youtube.com/watch?v=Cn Vkj41ybnE

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 147 ______

311.17:3 Our svalves are svalves {Sinn Fein, Sinn Fein FW 042, 074, 279, 311, http://en.wikipedia.org/wiki/Sinn_F% C3%A9in aroon! Amhain} 324, 593, 614, 623 (Wikipedia does not mention a corresponding song, but we trust Hodgart & Worthington that a corresponding song must necessarily exist. Alternatively, they might assign the chanting of this political slogan the full status of a song…)

FW 312

312.01:5 come bag to Moy Eireann! {Come Back to Erin} FW 021, 022, 120, 144, http://www.youtube.com/watch?v=IS5 QXouYQTs 232, 312, 315, 320, 421, 427, 428, 446, 510 312.11:12 holey bucket {Bucket Got a Hole in It} FW 312 http://www.songmeanings.net/songs/ view/3530822107858740054/

http://www.youtube.com/watch?v=d9 aYB2Waa8o 312.12:2 dinned he raign! {O, Didn’t It Rain!} FW 312, 320 http://www.songmeanings.net/songs/ view/3530822107859070128/

http://www.youtube.com/watch?v=w wPJgrLG4lU 312.13:8 quick piddysnip that wee [Quick! we have but a second FW 312 http://www.musicanet.org/robokopp/ eire/quickweh.htm

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 148 ______

halfbit a second {Paddy Snap}] http://www.youtube.com/watch?v=Ix Gc9To_EkQ 312.30:6 in his shaunty irish {The Irish Jaunting Car} FW 042, 053, 055, 059, http://en.wikipedia.org/wiki/Jaunting_ car 210, 312 https://www.youtube.com/watch?v=_n mQrjI4E4E

FW 313

313.05:6 Godeown moseys {Go Down, Moses} FW 313 http://en.wikipedia.org/wiki/Go_Dow n_Moses

http://www.loc.gov/jukebox/recording s/detail/id/9842/ 313.30:8 fight great finnence! {Fight the Good Fight} FW 313 http://www.sing365.com/music/lyric.n sf/Fight-the-Good-Fight-lyrics- brayvoh, little bratton! Triumph/2C97C23127AF570848256DC90 03039C4

FW 314

314.12:1 Rutsch is for rutterman {A was an Archer} FW 005, 019, 072, 080, http://www.mamalisa.com/?t=hes&p= 1375 ramping his roe 226, 228, 242, 250, 293, 302, 314, 319, 404, 603

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 149 ______

314.18:14 Hillary rillary gibbous {One, two, buckle my shoe } FW 314 http://en.wikipedia.org/wiki/One,_Tw o,_Buckle_My_Shoe grist to our millery http://www.youtube.com/watch?v=d2 P5bVpLO50 314.18:14 Hillary rillary gibbous {Hickory, Dickory, Dock} FW 261, 314, 378 http://en.wikipedia.org/wiki/Hickory_ Dickory_Dock grist to our millery https://www.youtube.com/watch?v=5y nIXFCNjjI 314.18:14 Hillary rillary gibbous {Hilary, dilary} FW 314 grist to our millery 314.24:13 ringround {Ring a-ring o’ Roses} FW 006, 065, 147, 201, http://en.wikipedia.org/wiki/Ring_a_R ing_o'_Roses 215, 225, 239, 245, 246, 314, 330, 448, 453,459, http://www.youtube.com/watch?v=6e6 67TEbztc 462, 494, 510, 552, 614 314.31:8 when the youthel of his {Do Ye Ken John Peel?} FW 031, 098, 314, 315, http://en.wikipedia.org/wiki/John_Pee l_{huntsman)#Lyrics_of_D.27ye_ken_Joh yorn shook the bouchal in 317, 319, 322, 323, 324, n_Peel 329, 333, 334, 339, 461, his bed http://www.youtube.com/watch?v=xt1 485 5L_jfe4k

FW 315

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 150 ______

315.02:2 Diddled he daddle a drop {Diddle me doddle, I’m fond FW 315 of the cradler of me bottle} 315.02:11 delight mebold laddy was {The Night before Larry was FW 315, 330, 380, 517, http://en.wikipedia.org/wiki/The_Nig ht_Before_Larry_Was_Stretched stetched Stretched} 519, 534 http://www.youtube.com/watch?v=EG 9xx9dEJ3g 315.03:10 or ere the cry of their {Do Ye Ken John Peel?} FW 031, 098, 314, 315, http://en.wikipedia.org/wiki/John_Pee l_{huntsman)#Lyrics_of_D.27ye_ken_Joh tongues would be uptied 317, 319, 322, 323, 324, n_Peel 329, 333, 334, 339, 461, dead http://www.youtube.com/watch?v=xt1 485 5L_jfe4k 315.12:2 back to Moyle herring {Come Back to Erin} FW 021, 022, 120, 144, http://www.youtube.com/watch?v=IS5 QXouYQTs 232, 312, 315, 320, 421, 427, 428, 446, 510 315.14:1 skibber [. . .] in {Old Skibbereen} FW 210, 302, 315 http://en.wikipedia.org/wiki/Skibberee n_{song)

http://www.youtube.com/watch?v=DP 8PB3viZck 315.15:7 at tickle to tackle {A-tisket, a-tasket} FW 315 http://en.wikipedia.org/wiki/A- Tisket,_A-Tasket

http://www.youtube.com/watch?v=XU YpUogn91U 315.22:5 nogeysokey {Hokey Pokey} FW 071, 078, 234, 254, http://en.wikipedia.org/wiki/Hokey_c okey

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 151 ______

256, 315, 368, 542, 558 https://www.youtube.com/watch?v=ok EBfQk6SXI 315.22:5 nogeysokey {The King of the Cannibal FW 078, 254, 315, 600 https://www.youtube.com/watch?v=Er FuLu_YS88 Isles} 315.23:10 the snarsty weg for Publin {The Rocky Road to Dublin} FW 014, 064, 197, 244, http://en.wikipedia.org/wiki/Rocky_R 287, 315, 323, 328, 341, oad_to_Dublin 355, 514, 555, 565, 623 http://www.youtube.com/watch?v=yv vMuJ_VeX4 315.26:4 wagger with its tag {Horsey, Keep Your Tail Up} FW 233, 315, 498, 531 http://lyricsplayground.com/alpha/son gs/h/horseykeepyourtailup.shtml tucked.Up. https://www.youtube.com/watch?v=L2 k4U1d8zp0 315.26:4 wagger with its tag tucked. { My mother had a turkey FW 233, 315, 316, 340, http://lyricsplayground.com/alpha/son gs/h/horseykeepyourtailup.shtml Up. and she thought it was a 498 duck} https://www.youtube.com/watch?v=L2 k4U1d8zp0 315.34:1 Skibbereen {Old Skibbereen} FW 210, 302, 315 http://en.wikipedia.org/wiki/Skibberee n_{song)

http://www.youtube.com/watch?v=DP 8PB3viZck 315.34:1 Skibbereen has common {Sumer is icumen in} FW 315 http://en.wikipedia.org/wiki/Sumer_Is _Icumen_In in http://www.youtube.com/watch?v=Z

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 152 ______

WWEHAswpFI

FW 316

316.02:1 That with some our {Let Erin remember the days FW 017, 151, 316, 338, https://www.youtube.com/watch?v=R_ 5lCgDAqQc prowed invisors of old} 341, 473, 493, 563 316.16,18 he had gone dump in the {Down Went McGinty} FW 085, 231, 316, 366 https://www.youtube.com/watch?v=Iz omNUuP82U doomering this tide [. . .] down to the button of his seat 316.21:5 Howoft had the ballshee [How oft has the Banshee FW 316, 468 http://www.libraryireland.com/Irish- Melodies/How-oft-has-the-benshee- tried! [. . .] eeriebleak cried {The dear black maid}] cried-1.php mead 316.23:6 turkeys [. . .] his bum end {My mother had a turkey and FW 233, 315, 316, 340, http://lyricsplayground.com/alpha/son gs/h/horseykeepyourtailup.shtml she thought it was a duck} 498 https://www.youtube.com/watch?v=L2 k4U1d8zp0 316.32:8 one old faulker from the {Old Folks at Home} FW 289, 316, 390, 431, http://en.wikipedia.org/wiki/Old_Folk s_at_Home hame folk 455, 512, 581, 599-600 http://www.youtube.com/watch?v=oN 0eFJxf_Vk

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 153 ______

316.35:1 shoots ogos shootsle him [Where is the slave so lowly? FW 190, 209, 250, 316, http://www.musicanet.org/robokopp/ eire/ohwheres.htm or what’s that slob {Sios agus Sios Liom}] 457

FW 317

317.07:3 sealer’s solder into {Rich man, poor man, beggar FW 057, 079, 132, 144, http://en.wikipedia.org/wiki/Tinker,_T ailor tankar’s tolder man, thief} 202, 311, 317 317.13:13 One fishball with fixings! [One Meat Ball { The Lone FW 072, 317 http://en.wikipedia.org/wiki/George_ Martin_Lane Fish Ball}] http://www.youtube.com/watch?v=li0 qPwn4U8Y 317.14:4 For a dan of a ven of a fin [Son of a Gombolier {I’m a FW 229, 317, 323, 355 http://sniff.numachi.com/pages/tiSON GAMB;ttSONGAMB.html of a son of a gun of a Rambling Wreck}] http://www.youtube.com/watch?v=O gombolier. w1dznt-RrU 317.30:5 big bailey bill {Bill Bailey, Won’t You Please FW 127, 177, 317, 448, http://en.wikipedia.org/wiki/Won't_Y ou_Come_Home_Bill_Bailey Come Home?} 480 https://www.youtube.com/watch?v=Ot hWvIBBDhg

317.35:6 do you kend yon peak {Do Ye Ken John Pell?} FW 031, 098, 314, 315, http://en.wikipedia.org/wiki/John_Pee l_{huntsman)#Lyrics_of_D.27ye_ken_Joh with its coast so green? 317, 319, 322, 323, 324, n_Peel

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 154 ______

329, 333, 334, 339, 461, http://www.youtube.com/watch?v=xt1 485 5L_jfe4k

FW 318

318.10:6 Jilt the spin of a curl and {Jack and Jill} FW 061, 141, 211, 290, http://en.wikipedia.org/wiki/Jack_and _Jill_{nursery_rhyme) jolt the broadth of a buoy 318, 462, 589 https://www.youtube.com/watch?v=ls bFIYSK26E 318.13:10 While this glowworld’s {The Young May Moon} FW 065, 099, 201, 245, http://www.bartleby.com/101/582.htm l lump is gloaming off 267, 318, 436 https://www.youtube.com/watch?v=H 7a6Y5iDk4A 318.13:10 While this glowworld’s {In the Gloaming} FW 147, 158, 226, 232, http://www.elyrics.net/read/s/story- lyrics/in-the-gloaming-lyrics.html lump is gloaming off 318 https://www.youtube.com/watch?v=v4 hkE4iUrvk 318.16:11 Tham the Thatcher’s palm {Phil the Fluter’s Ball} FW 006, 012, 043, 058, http://en.wikisource.org/wiki/Phil_the _Fluther%27s_Ball 063, 076, 230, 240, 297, 318, 319, 335, 341, 351, http://www.youtube.com/watch?v=_x_ 50hB3lCM 363, 444, 531 318.17:3 O wanderness be {Das Wandern ist des FW 318 http://de.wikipedia.org/wiki/Das_Wan dern_ist_des_M%C3%BCllers_Lust

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 155 ______

wondernest and now! Müllers Lust} http://www.youtube.com/watch?v=19S N7FumlGY 318.28:4 Join Anderson and Co. {John Anderson, My Jo} FW 095, 105, 215, 318, http://www.robertburns.org/works/26 8.shtml 413 https://www.youtube.com/watch?v=vL uKGirqgIs

FW 319

319.01:5 Hillyhollow, valleylow! {Do Ye Ken John Peel?} FW 031, 098, 314, 315, http://en.wikipedia.org/wiki/John_Pee l_{huntsman)#Lyrics_of_D.27ye_ken_Joh With the sounds and the 317, 319, 322, 323, 324, n_Peel 329, 333, 334, 339, 461, scents in the morning. http://www.youtube.com/watch?v=xt1 485 5L_jfe4k 319.08:8 Time is for talerman {A was an Archer} FW 005, 019, 072, 080, http://www.mamalisa.com/?t=hes&p= 1375 tasting his tap. 226, 228, 242, 250, 293, 302, 314, 319, 404, 603 319.13:4 to the tickle of his tube {Phil the Fluter’s Ball} FW 006, 012, 043, 058, http://en.wikisource.org/wiki/Phil_the _Fluther%27s_Ball and the twobble of his 063, 076, 230, 240, 297, 318, 319, 335, 341, 351, http://www.youtube.com/watch?v=_x_ fable, O 50hB3lCM 363, 444, 531 319.29:5 murhersson goat {McPherson’s Goat} FW 319

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 156 ______

FW 320

320.19:1 How he hised his bungle {Off to Philadelphia in the FW 073, 093, 320, 324, http://www.traditionalmusic.co.uk/folk -song-lyrics/Off_to_Philadelphia.htm oar his shourter and cut Morning} 330, 378, 436-437, 530 https://www.youtube.com/watch?v=T the pinter off his pourer nJuEsvNPKw and lay off for Fellagulphia in the farning. 320.21:1 dhruimadhreamdhrue {Drimmen Down Deelish} FW 198, 320 320.24:5 Come back to May Aileen. {Come Back to Erin} FW 021, 022, 120, 144, http://www.youtube.com/watch?v=IS5 QXouYQTs 232, 312, 315, 320, 421, 427, 428, 446, 510 320.30:9 didn’t he drain {O, Didn’t It Rain!} FW 312, 320 http://www.songmeanings.net/songs/ view/3530822107859070128/

http://www.youtube.com/watch?v=w wPJgrLG4lU

FW 321

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 157 ______

321.14:10 Noeman’s Woe. [The Wreck of the Hesperus FW 321, 387, 557 http://en.wikipedia.org/wiki/The_Wre ck_of_the_Hesperus {The Reef of Norman’s Woe}] 321.15:4 With winkles whelks and {Mary, Mary, quite contrary} FW 020, 204, 247, 272, http://en.wikipedia.org/wiki/Mary,_M ary,_Quite_Contrary cocklesent jelks. 321 https://www.youtube.com/watch?v=u7 4Z_bLSV7w 321.17:1 And old lotts have fun at {Lannigan’s ball} FW 004, 005, 006, 015, http://en.wikipedia.org/wiki/Lanigan's _Ball Flammagen’s Ball. 024, 074, 089, 093, 105, 143, 176, 221, 240, 258, https://www.youtube.com/watch?v=G Fwjp3GfEGM 276, 297, 313-314, 317, 321, 332, 337, 347, 351, 357, 358, 375, 379, 415, 453, 496-497, 499, 503, 506, 511, 519, 531, 537, 576, 580, 594, 607, 617, 621, 628 FW 006, 321, 354, 377 321.17:9 Till Irinwakes from {The West’s Awake} FW 064, 321, 383, 424, http://celtic-lyrics.com/lyrics/114.html

Slumber Deep. 449, 469, 473, 496 https://www.youtube.com/watch?v=vJ EyKwGmRCw 321.25:13 pattedyr but digit here {The Wearing of the Green} FW 093-094, 273, 321, http://en.wikipedia.org/wiki/The_Wea ring_of_the_Green 341, 345, 408, 411, 464,

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 158 ______

516 http://www.youtube.com/watch?v=BK nmNll1AbM 321.29:3 Your sows tin the topple, {Finnegan’s Wake} FW 004, 005, 006, 015, https://www.youtube.com/watch?v=q6 CHq9mXkJ8 dodgers , trink me dregs! 024, 034, 074, 089, 093, 105, 143, 176, 221, 240, 258, 276, 297, 313-314, 317, 321, 332, 337, 347, 351, 357, 358, 375, 379, 415, 453, 496-497, 499, 503, 506, 511, 519, 531, 537, 576, 580, 594, 607, 617, 621, 621, 628

FW 322

322.14:2 With his coate so graye. {Do Ye Ken John Peel?} FW 031, 098, 314, 315, http://en.wikipedia.org/wiki/John_Pee l_{huntsman)#Lyrics_of_D.27ye_ken_Joh And his pounds that he 317, 319, 322, 323, 324, n_Peel 329, 333, 334, 339, 461, pawned from the burning. http://www.youtube.com/watch?v=xt1 485 5L_jfe4k

FW 323

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 159 ______

323.07:4 belly jonah hunting the {Jonah and the Whale} FW 228, 245, 323, 434, http://christianity.about.com/od/bibles torysummaries/a/Jonah-And-The- polly joans 463, 536 Whale.htm

http://kids- songs.tv/who_did_swallow_jonah

https://www.youtube.com/watch?v=F VFMMUF441Q 323.09:9 Donnerbruch fire {Donnybrook Fair} FW 323, 499, 537, 563 http://en.wikipedia.org/wiki/Donnybr ook_Fair

https://www.youtube.com/watch?v=b7 3AMrLBEJA 323.10:1 Reefer was a wechman {Taffy was a Welshman} FW 010, 014, 222, 323, http://en.wikipedia.org/wiki/Taffy_wa s_a_Welshman 390, 433 https://www.youtube.com/watch?v=N Cvmy7ZudqA 323.23:3 that hell of a hull of a hill {Son of a Gombolier} FW 229, 317, 323, 355 http://sniff.numachi.com/pages/tiSON GAMB;ttSONGAMB.html of a camelump bakk. http://www.youtube.com/watch?v=O w1dznt-RrU 323.23:3 that hell of a hull of a hill {The Wren, the Wren, the FW 044, 045, 046, 105, http://www.musicanet.org/robokopp/s cottish/thewren.htm of a camelump bakk. king of all birds} 256, 340, 348, 355, 363, 376, 430, 431, 504 https://www.youtube.com/watch?v=h X7icoFY0U0

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 160 ______

323.25:8 that horn of a lunghallon {Do Ye Ken John Peel?} FW 031, 098, 314, 315, http://en.wikipedia.org/wiki/John_Pee l_{huntsman)#Lyrics_of_D.27ye_ken_Joh 317, 319, 322, 323, 324, n_Peel 329, 333, 334, 339, 461, http://www.youtube.com/watch?v=xt1 485 5L_jfe4k 323.30:7 that bunch of palers on {The Peeler and the Goat} FW 005, 323, 327, 347, http://en.wikipedia.org/wiki/The_Peel er_and_the_Goat their round, timemarching 374, 441, 522, 589 https://www.youtube.com/watch?v=M and petrolling how HwZhuSPR1M 323.30:10 palers [. . .] time marching {If You Want to Know the FW 323 http://www.traditionalmusic.co.uk/son gster/pdf/25-ask-a-policeman-song- Time, Ask a Policeman} lyrics.pdf 323.33:14 O, the wolf he’s on the {The Shan Van Vocht} FW 048, 054, 077, 323, http://www.finnegansweb.com/wiki/i ndex.php/The_Shan_Van_Vocht walk , sees his sham cram 364, 372, 435, 465, 479 bokk! 323.35:6 the steerage way for {The Rocky Road to Dublin} FW 014, 064, 197, 244, http://en.wikipedia.org/wiki/Rocky_R oad_to_Dublin stabling 287, 315, 323, 328, 341, 355, 514, 555, 565, 623 http://www.irishmusicforever.com/roc ky-road-to-dublin/lyrics-and-chords

https://www.youtube.com/watch?v=jx BKgOyMzSc

FW 324

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 161 ______

324.01:11 the filibustered, the fully {Off to Philadelphia in the FW 073, 093, 320, 324, http://www.traditionalmusic.co.uk/folk -song-lyrics/Off_to_Philadelphia.htm bellied. With the old sit in Morning} 330, 378, 436-437, 530 https://www.youtube.com/watch?v=T his shoulders nJuEsvNPKw 324.09:4 ye seal that lubs you lasers {The Lass That Loves a Sailor} FW 297, 324, 440 http://www.james-joyce- music.com/extras/lasslovesailor.html

http://www.youtube.com/watch?v=jjz3 nnQ2q3E 324.15:9 Our set, our set’s allohn {Sinn Fein, Sinn Fein, FW 042, 074, 279, 311, http://en.wikipedia.org/wiki/Sinn_F% C3%A9in Amhain} 324, 593, 614, 623 (Wikipedia does not mention a corresponding song, but we trust Hodgart & Worthington that a corresponding song must necessarily exist. Alternatively, they might assign the chanting of this political slogan the full status of a song…) 324.18:2 wodhalooing {Do Ye Ken John Peel?} FW 031, 098, 314, 315, http://en.wikipedia.org/wiki/John_Pee l_{huntsman)#Lyrics_of_D.27ye_ken_Joh 317, 319, 322, 323, 324, n_Peel 329, 333, 334, 339, 461, http://www.youtube.com/watch?v=xt1 485 5L_jfe4k 324.19:1 good and truesirs. {The Croppy Boy} FW 103, 229, 516 http://en.wikipedia.org/wiki/The_Cro ppy_Boy

http://www.youtube.com/watch?v=_Q

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 162 ______

Mx1lXgUKc 324.19:1 good and truesirs. {The Memory of the Dead} FW 034, 093, 125, 135, http://www.youtube.com/watch?v=xeS W-bKMuu8 310, 324, 413, 553 http://www.bartleby.com/246/214.htm l 324.20:9 one love, one fear. {One Life, One Love} FW 063, 324 324.22:1 Finucane-Lee, Finucane- {Funiculi, Funicula} FW 324 http://en.wikipedia.org/wiki/Funicul% C3%AC,_Funicul%C3%A0 Law. https://www.youtube.com/watch?v=G YwafK4HttY 324.25:1 Wind from the nordth. {Winds That Blow from the FW 324 South}

FW 325

325.07:13 On drums of bliss. {On Wings of Song} FW 325 http://en.wikipedia.org/wiki/On_Wing s_of_Song_{poem_and_song)

https://www.youtube.com/watch?v=U nIje_MJmfY

FW 326

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 163 ______

326.04:4 A Trinity judge will crux {At Trinity Church I Met My FW 007, 071, 102-103, http://lyricsplayground.com/alpha/son gs/a/attrinitychurch.shtml your broom. Doom} 135, 173, 240, 326, 498, 548, 588, 624 326.14:5 from which our this [From this hour the pledge is FW 326 http://www.musicanet.org/robokopp/ eire/fromthis.htm pledge is given, Terra truly given {Renardine}] ternatrine 326.28:2 comesend round that wine [Come, send round the wine FW 326 http://www.litscape.com/author/Thom as_Moore/Come_Send_Round_The_Win [. . .] we brought your {We brought the summer e.html with us}] summer with us http://ingeb.org/songs/thugamar.html

FW 327

327.05:12 surge seas sombren. {Black-eyed Susan} FW 215, 327 http://en.wikipedia.org/wiki/Black- eyed_Susan 327.12:4 little Anny Roners {Little Annie Rooney} FW 007, 095, 105, 327, http://monologues.co.uk/musichall/So ngs-L/Little-Annie-Rooney.htm 426, 548 https://www.youtube.com/watch?v=2X Ioe8san7c 327.17:5 making every Dinny {The Dargle Run Dry} FW 327, 460 dingle after her down the Dargul dale

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 164 ______

327.23:2 the flyend of a touchman {The Flying Dutchman} FW 327 http://en.wikipedia.org/wiki/The_Flyi ng_Dutchman_{opera)

https://www.youtube.com/watch?v=o DOZ9Fm2WXU 327.27:6 and he took her to be a {The Peeler and the Goat} FW 005, 323, 327, 347, http://en.wikipedia.org/wiki/The_Peel er_and_the_Goat rover, O 374, 441, 522, 589 https://www.youtube.com/watch?v=M HwZhuSPR1M 327.29:13 bleakeyed seusan {Black-eyed Susan} FW 215, 327 http://en.wikipedia.org/wiki/Black- eyed_Susan 327.30:10 Norgeyborgey {Georgie Porgie} FW 037, 179, 279, 327, http://en.wikipedia.org/wiki/Georgie_ Porgie 375 https://www.youtube.com/watch?v=fH PBr6-sTQ8

FW 328

328.02:4 Brian O’Luinn {Brian O’Linn} FW 006, 017, 060, 070, http://chivalry.com/cantaria/lyrics/bri an_olynn.html 148, 240, 275, 328, 338, 372, 373, 507 https://www.youtube.com/watch?v=R YTQNJlZPT0 328.03:4 wattling way for cubblin. {The Rocky Road to Dublin} FW 014, 064, 197, 244, http://en.wikipedia.org/wiki/Rocky_R 287, 315, 323, 328, 341, oad_to_Dublin 355, 514, 555, 565, 623

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 165 ______

http://www.youtube.com/watch?v=yv vMuJ_VeX4 328.03:9 be my fairy fay {Polly Wolly Doodle} FW 240, 250, 328, 346, http://en.wikipedia.org/wiki/Polly_Wo lly_Doodle 379, 454, 486, 508, https://www.youtube.com/watch?v=8 COB4_i5rcA 328.05:2 wiry eyes and winky hair {There’s Hair Like Fire FW 004, 106, 169, 289, Coming out of the Empire} 328, 516 328.11:5 the clonk in his stumble {Father, Dear father, Come FW 328 http://ingeb.org/songs/fatherde.html

strikes warn Home with Me Now} https://www.youtube.com/watch?v=Xl 0AiuiqP-E 328.16:9 Elding, my elding! and Lif, {Come into the Garden, FW 253, 328, 405, 446 http://www.bartleby.com/246/390.htm l my lif! Maud} http://www.victorianweb.org/mt/parl orsongs/8.html 328.18:4 at that meet hour of night [At the mid hour of night FW 328, 519 http://www.sfcmhistory.com/Spitzer/ History_203/notes/Note_Moore_Mid- [. . .] mallymedears’ {Molly, my dear}] hour.htm

https://www.youtube.com/watch?v=ft niN-3RHrA 328.21:7 sweetheart emmas {Sweetheart May} FW 328 http://digital.nls.uk/broadsides/broads ide.cfm/id/14999

http://www.myspace.com/danwquinn /music/songs/sweetheart-may- 52610383

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 166 ______

328.22:11 while taylight is yet [When daylight was yet FW 328 http://www.musicanet.org/robokopp/ eire/whendayl.htm slipping under their sleeping under the billow {Ill omens} {Kitty of Coleraine or https://www.youtube.com/watch?v=7j pillow (ill omens on Kitty qnWTQFVyU Paddy’s Resource}] Cole if she’s spilling laddy’s measure! ) 328.23:11 Kitty Cole [. . .] measure! {Kitty of Coleraine} FW 210, 328 https://www.youtube.com/watch?v=7j qnWTQFVyU 328.25:6 Heri the Concorant Erho {See, the Conquering Hero FW 328 http://www.alfred.com/Products/See- the-Conquering-Hero-Comes--00- Comes} 36680.aspx

https://www.youtube.com/watch?v=V 3lgb6jStqs 328.26:8 I’ll Bell the Welled {Who killed Cock Robin?} FW 006, 007, 095, 211, http://en.wikipedia.org/wiki/Cock_Ro bin 245, 256, 328, 333, 353, 361, 362, 383, 384, 568, https://www.youtube.com/watch?v=Eg 2F-I5bMIo 588 328.29:4 tha lassy! tha lassy! {Green Grow the Rashes, O} FW 143, 328, 441 http://www.bbc.co.uk/arts/robertburn s/works/green_grow_the_rashes/

https://www.youtube.com/watch?v=Io -n-WIcj_M 328.29:10 buoy the hoop within us [By the hope within us FW 328 http://www.musicanet.org/robokopp/ eire/bythhope.htm springing [. . .] our fiery springing {The Fairy Queen}]

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 167 ______

quean

FW 329

329.01:2 Yinko Jinko Randy {Yankee Doodle} FW 071, 258, 329, 376, http://en.wikipedia.org/wiki/Yankee_ Doodle 404, 418, 464, 622 https://www.youtube.com/watch?v=Iz RhFH5OyHo 329.21:3 What battle of bragues on {Weel May the Keel Row} FW 064, 095, 329, 427 http://en.wikipedia.org/wiki/The_Keel _Row Sandgate https://www.youtube.com/watch?v=k V5JbDJXwyM 329.21:9 where met the bobby {Comin’ through the Rye} FW 025, 095, 231, 329, https://en.wikipedia.org/wiki/Comin'_ Thro'_the_Rye mobbed his bibby 523, 578 https://www.youtube.com/watch?v=w mabbing through the ryce. y2vyx_ZZn0 329.27:5 with a leaf of bronze on {Do Ye Ken John Peel?} FW 031, 098, 314, 315, http://en.wikipedia.org/wiki/John_Pee l_{huntsman)#Lyrics_of_D.27ye_ken_Joh his cloak so grey 317, 319, 322, 323, 324, n_Peel 329, 333, 334, 339, 461, http://www.youtube.com/watch?v=xt1 485 5L_jfe4k

FW 330

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 168 ______

330.01:9 Hadn’t we heaven’s lamps {As I was going to St. Ives} FW 012, 102, 147, 215, http://en.wikipedia.org/wiki/As_I_was _going_to_St_Ives [. . .] trick of her trade 252, 291, 330, 390, 523, 552, 614 https://www.youtube.com/watch?v=M Lb2KDAITlI 330.04:5 a tease for Ned, nook’s {Ring a-ring o’ Roses} FW 006, 065, 147, 201, http://en.wikipedia.org/wiki/Ring_a_R ing_o'_Roses nestle for Fred and a peep 209, 210, 215, 225, 239, 245, 246, 314, 330, 448, http://www.youtube.com/watch?v=6e6 at me mow for Peel Pol. 67TEbztc 453, 459, 462, 494, 510, 552, 614 330.08:1 to cannons’ roar and rifles {The Soldier’s Song} FW 330, 350, 354, 469, http://en.wikipedia.org/wiki/Amhr%C 3%A1n_na_bhFiann peal vill shantey soloweys 510 https://www.youtube.com/watch?v=Qf sand! gnVMFtd7E 330.08:9 soloweys sang! {Solveig’s Song} FW 330 330.18:7 when the Cap and Miss {The Night before Larry Was FW 315, 330, 380, 517, http://en.wikipedia.org/wiki/The_Nig ht_Before_Larry_Was_Stretched Coolie were roped. Stretched} 519, 534 http://www.youtube.com/watch?v=EG 9xx9dEJ3g 330.21:1 With her banbax hoist {Off to Philadelphia in the FW 073, 093, 320, 324, http://www.traditionalmusic.co.uk/folk -song-lyrics/Off_to_Philadelphia.htm from holder [. . .] Morning} 330, 378, 436-437, 530 https://www.youtube.com/watch?v=T Norening. nJuEsvNPKw

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 169 ______

330.25:3 Where they pulled down {Polly, put the kettle on} FW 023, 117, 161, 229, http://en.wikipedia.org/wiki/Polly_Put _the_Kettle_On the kuddle and they made 236, 330, 332, 372, 585 https://www.youtube.com/watch?v=G fray. T7T4tJzuZk 330.28:1 He goat a berth . And she {All God’s Chillun Got FW 330, 334, 339 http://www.negrospirituals.com/news- song/all_god_s_chillun_got_wings.htm cot a manege. And wohl’s Wings} http://www.youtube.com/watch?v=zEt MhIB9oIg gorse mundom ganna wedst. 330.30:1 Knock knock [. . .] Knock {Knock Knock} FW 330 knock.

FW 331

331.05:7 windtreetop {Rockabye, baby} FW 104, 211, 248, 278, http://en.wikipedia.org/wiki/Rock-a- bye_Baby 294, 331, 420, 472, 546, 582 https://www.youtube.com/watch?v=y VLDi-FFjVo 331.35:12 the wild main from {The Wild Man from Borneo FW 130, 331, 345, 358, http://www.sing365.com/music/lyric.n sf/Wild-Man-From-Borneo-lyrics-Kinky- Borneholm has jest come Has Just Come to Town} 382, 415, 481, 482, 502 Friedman/1CF8E030DC980CD748256AB 500267DA7 to crown. https://www.youtube.com/watch?v=w

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 170 ______

pvC7U42rlo

FW 332

332.02:7 he put off the ketyl and {Polly, put the kettle on} FW 023, 117, 161, 229, http://en.wikipedia.org/wiki/Polly_Put _the_Kettle_On they made three (for fie!) 236, 330, 332, 372, 585 https://www.youtube.com/watch?v=G T7T4tJzuZk 332.02:7 he put off the ketyl and {Tea for two} FW 065, 119, 145, 246, http://en.wikipedia.org/wiki/Tea_for_ Two_(song) they made three (for fie!) 260, 332, 384, 457, 584, 603, 620 http://www.youtube.com/watch?v=y0z c7x434Aw 332.05:3 where Pappappappar {When Papa Papered the FW 170, 332 http://en.wikipedia.org/wiki/When_Fa ther_Papered_the_Parlour Parlor} https://www.youtube.com/watch?v=O rfMe0QENPw 332.06:1 whackfalltherdebblen {Finnegan’s Wake} FW 004, 005, 006, 015, https://www.youtube.com/watch?v=q6 CHq9mXkJ8 024, 034, 074, 089, 093, 105, 143, 176, 221, 240, 258, 276, 297, 313-314, 317, 321, 332, 337, 347, 351, 357, 358, 375, 379, 415, 453, 496-497, 499,

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 171 ______

503, 506, 511, 519, 531, 537, 576, 580, 594, 607, 617, 621, 621, 628 332.06:1 whackfalltherdebblen {Whack Fol the Diddle} FW 042, 332, 360 http://www.kinglaoghaire.com/site/lyr ics/song_446.html

https://www.youtube.com/watch?v=m gYYFXH2YmE 332.18:3 O gué, O gué! {O gai, O gai, O gai} FW 332, 360 332.35:2 booths, booths, booths, {Boots} FW 332, 599 booths.

FW 333

333.09:5 way boy wally {My Boy Willie} FW 333 http://ingeb.org/songs/itwaeaea.html

https://www.youtube.com/watch?v=y QD1i0Pb57s 333.09:5 way boy wally {Waly} FW 333 http://www.sing365.com/music/lyric.n sf/O-Waly-Waly-lyrics-Sarah- Brightman/8B7CE02F9079C83248256961 000FC55A

https://www.youtube.com/watch?v=e UWA8nijrMQ

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 172 ______

333.28:10 now the sowns of his loins {Who killed Cock Robin} FW 006, 007, 095, 211, http://en.wikipedia.org/wiki/Cock_Ro bin were awinking and 245, 256, 328, 333, 353, 361, 362, 383, 384, 568, https://www.youtube.com/watch?v=Eg waking 2F-I5bMIo 588} 333.28:10 now the sowns of his loins {Do Ye Ken John Peel} FW 031, 098, 314, 315, https://www.youtube.com/watch?v=Lx were awinking and 317, 319, 322, 323, 324, UIWmuJARg waking 329, 333, 334, 339, 461, 485 333.30:2 hush lillabilla lullaby {My Curly-headed Baby} FW 333 https://www.youtube.com/watch?v=nF RhEvcGgrs

FW 334

334.02:6 ‘twas her hour [. . .] Panny [Fly no just yet, ‘tis just the FW 020, 334 http://www.musicanet.org/robokopp/ eire/flynotye.htm Kostello hour {Planxty Kelly}] https://www.youtube.com/watch?v=3 N4UZhpMU1Y 334.20:1 O rum it is the chomicalest {The Barley Corn} FW 269, 270, 334, 589 http://en.wikipedia.org/wiki/John_Barl eycorn thing how it pickles up the https://www.youtube.com/watch?v=_ punchey and the jude. NNgLqz89Z8 334.20:1 O rum it is the chomicalest {The Sprig of Thyme} FW 161, 269, 334 http://mainlynorfolk.info/joseph.taylor /songs/sprigofthyme.html

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 173 ______

thing how it pickles up the https://www.youtube.com/watch?v=R punchey and the jude. PftoCiTc24 334.22:13 He banged the scoop and {All God’s Chillun Got FW 330, 334, 339 http://www.negrospirituals.com/news- song/all_god_s_chillun_got_wings.htm she bagged the sugar Wings} http://www.youtube.com/watch?v=zEt MhIB9oIg while the whole pub’ pobbel done a stare. 334.24:6 On the mizzatint wall. [. . {Humpty Dumpty} FW 003, 007, 012, 013, http://en.wikipedia.org/wiki/Humpty_ Dumpty .] Showing holdmenag’s 013, 017, 029, 029, 044- 047, 099, 106, 129, 163, https://www.youtube.com/watch?v=h1 asses sat by Allmeneck’s fiPIhGXYA 175, 184, 219, 230, 285, men. 294, 296, 314, 317, 319, 320, 325, 334, 341, 343, 352, 372, 373, 374, 375, 386, 415, 422, 434, 455, 466, 496, 504, 550, 567, 568, 596, 606, 614, 614, 619, 619 334.32:1 Yes, we’ve conned thon {Do Ye Ken John Peel?} FW 031, 098, 314, 315, http://en.wikipedia.org/wiki/John_Pee l_{huntsman)#Lyrics_of_D.27ye_ken_Joh print in its gloss so gay [. . 317, 319, 322, 323, 324, n_Peel 329, 333, 334, 339, 461, .] at a turning. http://www.youtube.com/watch?v=xt1

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 174 ______

485 5L_jfe4k

FW 335

335.10:12 chivvychace {The Ballad of Chevy Chase} FW 030, 245, 335 http://en.wikipedia.org/wiki/The_Ball ad_of_Chevy_Chase

http://www.contemplator.com/child/c hevych.html 335.31:9 fill the flatter {Phil the Fluter’s Ball} FW 006, 012, 043, 058, http://en.wikisource.org/wiki/Phil_the _Fluther%27s_Ball 063, 076, 230, 240, 297, 318, 319, 335, 341, 351, http://www.youtube.com/watch?v=_x_ 50hB3lCM 363, 444, 531 335.34:10 O Mr Mathurin {O Mister Porter, Whatever FW 135, 222, 257, 335, http://www.musicsmiles.com/oh_mr_p orter!.htm Shall I Do?} 493, 560, 571 https://www.youtube.com/watch?v=e- RpyLmIn3k

FW 336

336.04:4 bould shoulderedboy’s {The Bowld Sojer Boy} FW 093, 336, 380 http://mariah.stonemarche.org/livhis/b owldsojer.htm 336.09:1 Maltomeetim, {Needles and Pins} FW 006, 131, 210, 336

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 175 ______

alltomatetam, when a tale tarries shome shunter shove on. 336.10:3 Fore auld they wauld to {Pretty Molly Brannigan} FW 006, 139, 204, 336, http://www.lyrics007.com/Unknown% 20Lyrics/Molly%20Brannigan%20Lyrics. pee. 442, 451, 596 html

https://www.youtube.com/watch?v=62 Xdp66LJXg 336.16:11 babes awondering in a {Babes in the Wood} FW 336, 504, 551, 619 https://www.youtube.com/watch?v=O 9t15cBRPwI wold 336.20:7 Shinsin. Shinsin. {Chin Chin Chinaman} FW 057, 058, 075, 082, https://www.youtube.com/watch?v=ku AfeBPZZKc 106, 131, 272, 304, 336, 465, 485, 608, 611, 615 336.22:5 his place is his poster, {Where are you going, my FW 273, 336, 357, 476, http://www.rhymes.org.uk/a112- where-are-you-going-my-pretty- sure, they said, and we’re pretty maid?} 512 maid.htm

going to mark it, sore, they https://www.youtube.com/watch?v=Z said TItkM60LY0

FW 337

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 176 ______

337.08:10 annapal livibel prettily {Pretty Little Polly Perkins FW 235, 241, 337, 470, http://en.wikipedia.org/wiki/Pretty_Po lly_Perkins_of_Paddington_Green pratle a lude all her own. from Paddington Green} 508 https://www.youtube.com/watch?v=7ft tPV0auKY 337.34:9 the bettlle of the bawll. {Battle of the Boyne} FW 098, 114, 130, 137, https://www.youtube.com/watch?v=o1 KggmYgHKY 337, 341, 361, 372, 538

FW 338

338.01:9 We’ve heard it sinse sung [Ireland , Boys, Hurrah! FW 287, 338 http://martindardis.com/id378.html

thousandtimes [. . .] For {Deep in Canadian Wood https://www.youtube.com/watch?v=H rPU-UZdeuM Ehren, boys, gobrawl! We’ve Met}] 338.03:1 Germanon [. . .] Ehren, {Ehren on the Rhine} FW 288, 338 http://www.traditionalmusic.co.uk/son gster/08-ehren-on-the- boys. rhine.htm#.UXVJCbXIvQo 338.16:10 Humme to our {Home to our Mountains} FW 338, 462 https://www.youtube.com/watch?v=Vj 5IGD79NiM mounthings 338.18:3 with his soliday site out on {Brian O’Linn} FW 006, 017, 060, 070, http://chivalry.com/cantaria/lyrics/bri an_olynn.html his moulday side in. 148, 240, 275, 328, 338, 372, 373, 507 https://www.youtube.com/watch?v=R YTQNJlZPT0 338.21:9 Shelltoss and welltass and {Father O’Flynn} FW 089, 095, 101, 183, http://www.ireland-

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 177 ______

telltuss aghom! 237, 257, 265, 279, 338, information.com/irishmusic/fatheroflyn n.shtml 350, 408, 419, 439, 454, 512, 562 https://www.youtube.com/watch?v=0g 1bBvTg1bU 338.27:9 Rassamble the glowrings [Remember the glories of FW 211, 338 http://www.musicanet.org/robokopp/ eire/remember.htm of Bruyant of Bref when Brian the Brave {Molly the Mollies Makehalpence MacAlpin}] 338.30:11 the morn hath razed out {The moon hath razed her FW 040, 338, 411, 450 https://www.youtube.com/watch?v=3 m6u60nOdEo limpalove lamp above} 338.31:5 and the bleakfrost chilled {Let Erin remember the days FW 017, 151, 316, 338, https://www.youtube.com/watch?v=R_ 5lCgDAqQc our ravery! of old} 338, 341, 473, 493, 563 338.32:8 Lets hear in remember the {Let Erin remember the days FW 017, 151, 316, 338, https://www.youtube.com/watch?v=R_ 5lCgDAqQc braise of. Hold! of old} 341, 473, 493, 563 338.36:4 the grain oils of Aerin {The Fair Hills of Eire, O} FW 338, 480 http://www.irishmusicforever.com/the- fair-hills-of-eire-o

FW 339

339.03:3 Like old Dolldy Icon [. . .] {O My Aged Uncle Arley} FW 257, 339 http://www.nonsenselit.org/Lear/pw/ arly.html in bicon.

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 178 ______

339.03:3 Like old Dolldy Icon [. . .] {Old Dolly Dinkins} FW 339 in bicon. 339.04:3 He gatovit and me gotafit {All God’s Chillun Got FW 330, 334, 339 http://www.negrospirituals.com/news- song/all_god_s_chillun_got_wings.htm and Olgoak’s Cheloven Wings} http://www.youtube.com/watch?v=zEt MhIB9oIg gut a fudden. 339.07:8 While the bucks bite his {Do Ye Ken John Peel?} FW 031, 098, 314, 315, http://en.wikipedia.org/wiki/John_Pee l_{huntsman)#Lyrics_of_D.27ye_ken_Joh dos his hart bides the ros 317, 319, 322, 323, 324, n_Peel 329, 333, 334, 339, 461, till the bounds of his bays http://www.youtube.com/watch?v=xt1 485 bell the warning. 5L_jfe4k 339.25:1 the florahs pf the follest {Flowers of the Forest} FW 339 http://en.wikipedia.org/wiki/Flowers_ of_the_Forest

https://www.youtube.com/watch?v=hq Y79y-SCbA 339.26:6 Come alleyou jupes of {Come all ye} FW 284, 295, 339, 432, https://en.wikipedia.org/wiki/Adeste_ Fideles Wymmingtown that graze 585, etc. https://www.youtube.com/watch?v=R the calves of Man! wogLAZaSkY

https://www.youtube.com/watch?v=n8 Vm-abwPAI

FW 340

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 179 ______

340.02:11 With his walshbrushup {My mother had a turkey and FW 233, 315, 316, 340, http://lyricsplayground.com/alpha/son gs/h/horseykeepyourtailup.shtml she thought it was a duck} 498 https://www.youtube.com/watch?v=L2 k4U1d8zp0 340.03:2 And his boney bogye {The Braes of Yarrow} FW 340, 341 http://www.exclassics.com/percy/perc 123.htm braggs. https://www.youtube.com/watch?v=Ek SLlEjINjU 340.03:2 And his boney bogye {Loch Lomond} FW 340, 520 http://www.incallander.co.uk/bonnieb anks.htm braggs [. . .] where he and https://www.youtube.com/watch?v=e his trulock may ever make Dee-mHMdwY a game [. . .] lomondations 340.08:6 Forget not the felled! For [Forget not the field FW 340, 440 http://www.musicanet.org/robokopp/ eire/forgetno.htm the lomondations of {Lamentations of Aughrim}] Oghrem! 340.09:8 furry glunn. Nye? Their {The Fairy Glen} FW 340, 553 http://www.traditionalmusic.co.uk/son gster/14-the-hat-me-father- feery pass. wore.htm#.UXVS97XIvQo 340.15:6 to the relix of old decency {The Hat Me Father Wore} FW 104, 340 http://www.traditionalmusic.co.uk/son gster/14-the-hat-me-father- wore.htm#.UXzn27XIvQo

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 180 ______

https://www.youtube.com/watch?v=K H7E5rCgS3k 340.16:2 Oh day of rath! (Dies Irae) FW 226-227, 340, 481 http://en.wikipedia.org/wiki/Dies_Irae

https://www.youtube.com/watch?v=Dl r90NLDp-0 340.16:7 murther of mines! {Mother of Mine} FW 295, 340, 408, 426 http://www.lyricsfreak.com/n/neil+rei d/mother+of+mine_20877027.html

https://www.youtube.com/watch?v=7 W3xSDhxL_Q 340.16:10 Eh, selo moy! {O Sole Mio} FW 340, 454 http://en.wikipedia.org/wiki/%E2%80 %99O_sole_mio

https://www.youtube.com/watch?v=E RD4CbBDNI0 340.23:4 samp, tramp and marchint {Tramp, Tramp, Tramp, the FW 078, 093, 246, 340, http://en.wikipedia.org/wiki/Tramp!_ Tramp!_Tramp! Boys Are Marching} 343, 534 https://www.youtube.com/watch?v=gv -aJLDAXN4 340.24:4 Guards, serf Finnland, {God Save Ireland} FW 340, 613 http://en.wikipedia.org/wiki/God_Sav e_Ireland serve we all! https://www.youtube.com/watch?v=i6 aJbNx7qVs 340.31:3 Guards, kittyls, and {Minnie the Moocher} FW 340, 455 http://en.wikipedia.org/wiki/Minnie_t he_Moocher howdeddoh, pan! https://www.youtube.com/watch?v=rC

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 181 ______

6JUA8cjoY 340.35:1 the Riss, the Ross, the sur {The Wren, the Wren, the FW 044, 045, 046, 105, http://www.musicanet.org/robokopp/s cottish/thewren.htm of all Russers king of all birds} 256, 340, 348, 355, 363, 376, 430, 431, 504 https://www.youtube.com/watch?v=h X7icoFY0U0

FW 341

341.01:2 We should say you dones {You Should See Me Dance FW 128, 341, 513 https://www.youtube.com/watch?v=T_ CQQpzNhLg the polecad. the Polka} 341.04:7 the little brown jog {Little Brown Jug} FW 033, 153, 159, 231, http://en.wikipedia.org/wiki/Little_Br own_Jug_{song) 341 https://www.youtube.com/watch?v=Tx mZ5sabk7U 341.05:4 whang goes the millner. {Pop! Goes the Weasel} FW 072, 215, 223, 341, http://en.wikipedia.org/wiki/Pop_Goe s_the_Weasel 465, 540 https://www.youtube.com/watch?v=sf YoNPJcN30 341.05:8 Buckily, buckily, {Merrily, merrily, greet the FW 341 http://en.wikipedia.org/wiki/Merrily_ Merrily blodstained boyne! morn} https://www.youtube.com/watch?v=Ek SLlEjINjU 341.05:8 Buckily, buckily, {The Braes of Yarrow} 340, 341 http://www.exclassics.com/percy/perc 123.htm

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 182 ______

blodstained boyne! http://www.youtube.com/watch?v=Ek SLlEjINjU 341.05:8 Buckily, buckily, {Boyne Water} FW 098, 114, 130, 137, http://en.wikipedia.org/wiki/The_Boy ne_Water blodstained boyne! 337, 341, 361, 372, 538 https://www.youtube.com/watch?v=at 7OAhJmzuE 341.07:2 Why the gigls ne lubbed {The Girl I Left Behind Me} FW 009, 106, 135, 184, http://en.wikipedia.org/wiki/The_Girl _I_Left_Behind beeyed me. 234, 341, 476, 510 https://www.youtube.com/watch?v=eI w8m9ogJKE 341.09:7 Trovatarovitch! {Il Trovatore} FW 301, 341, 366 http://en.wikipedia.org/wiki/Il_trovato re

https://www.youtube.com/watch?v=r Ms3Yrp4W0w 341.10:3 with the sickle of a scygthe {Phil the Fluter’s Ball} FW 006, 012, 043, 058, http://en.wikisource.org/wiki/Phil_the _Fluther%27s_Ball but the humour of a 063, 076, 230, 240, 297, 318, 319, 335, 341, 351, http://www.youtube.com/watch?v=_x_ hummer, O 50hB3lCM 363, 444, 531 341.16:2 my pife for his cgar! {A Life for the Tsar} FW 318 http://en.wikipedia.org/wiki/A_Life_f or_the_Tsar

https://www.youtube.com/watch?v=yr _kHTP6PfQ 341.17:7 The mlachy way for {The Rocky Road to Dublin} FW 014, 064, 197, 244, http://en.wikipedia.org/wiki/Rocky_R

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 183 ______

gambling. 287, 315, 323, 328, 341, oad_to_Dublin

355, 514, 555, 565, 623 http://www.youtube.com/watch?v=yv vMuJ_VeX4 341.17:8 mlachy {Let Erin remember the days FW 017, 151, 316, 338, https://www.youtube.com/watch?v=R_ 5lCgDAqQc of old} 341, 473, 493, 563 341.21:6 with the paddocks dare {The Wearing of the Green} FW 093-094, 273, 321, http://en.wikipedia.org/wiki/The_Wea ring_of_the_Green and ditches tare while the 341, 345, 408, 411, 464, 516 http://www.youtube.com/watch?v=BK mews was combing nmNll1AbM ground. 341.33:3 A lot of lasses and lads. {Come, lasses and lads} FW 130, 272, 290, 341 http://www.folk- lyrics.co.uk/Lyrics/ComeLassesAndLad s

https://www.youtube.com/watch?v=2j- Ai4pQ4f0

FW 342

342.16:6 ridesiddle titelittle Pitsy {Right Little, Tight Little FW 342 http://ingeb.org/songs/daddynep.html Riley! Gurragrunch, Island} gurragrunch 342.16:6 ridesiddle titelittle Pitsy [O, had we some bright little FW 342 http://www.musicanet.org/robokopp/

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 184 ______

Riley! Gurragrunch, island of our own {Sheela na eire/ohhadwes.htm gurragrunch Guira}] 342.16:8 Pitsy Riley! {Come Back, Paddy Reilly, to FW 342, 485 https://www.youtube.com/watch?v=W GmrpMT0-yo Ballyjamesduff}

FW 343

343.04:9 camp camp camp to Saint {Tramp, Tramp, Tramp, the FW 078, 093, 246, 340, http://en.wikipedia.org/wiki/Tramp!_ Tramp!_Tramp! Sepulchre’s march through Boys Are Marching} 343, 534 https://www.youtube.com/watch?v=gv the armeemonds retreat -aJLDAXN4 with the boys all marshalled 343.08:9 commeylad! {Tommy, Lad!} FW 343, 526 http://www.loc.gov/jukebox/recording s/detail/id/5168/

https://www.youtube.com/watch?v=fjh C3gckDyw 343.09:3 Think some ingain think {The Thirty-two Counties} FW 129, 343 https://www.youtube.com/watch?v=ct 6fxHtOSvk 343.21:3 Me fol the rawlawdy {There was a young girl from FW 343 http://en.wikipedia.org/wiki/There_on ce_was_a_man_from_Nantucket Nantucket}

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 185 ______

FW 344

344.04:2 as did jolly well harm lean {Johhny, I Hardly Knew Ye} FW 006, 058, 082, 107, http://en.wikipedia.org/wiki/Johnny_I _Hardly_Knew_Ye o’er him. 129, 184, 288, 344, 446, 485, 512, 550 https://www.youtube.com/watch?v=w FUTHcjiZGo 344.05:1 Weepon, weeponder, song [Weep on, weep on, your FW 344 http://www.musicanet.org/robokopp/ eire/weepweep.htm of sorrowmon! [. . .] Your hour is past {The song of partridge’s land! sorrow}] 344.12:1 bleyes bcome broon {Brown Eyes, Why Are You FW 344, 418 https://www.youtube.com/watch?v=5v f8tkJK1pY Blue?} 344.12:1 bleyes bcome broon {Eyes of Blue, Eyes of Brown} FW 344, 418 https://www.youtube.com/watch?v=5v f8tkJK1pY

FW 345

345.02:6 achaura moucreas {Acushla Machree} FW 093, 345 345.04:10 waldmanns from Burnias {The Wild Man from Borneo FW 130, 331, 345, 358, http://www.sing365.com/music/lyric.n sf/Wild-Man-From-Borneo-lyrics-Kinky- seduced country clowns Has Just Come to Town} 382, 415, 481, 482, 502 Friedman/1CF8E030DC980CD748256AB 500267DA7

https://www.youtube.com/watch?v=w

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 186 ______

pvC7U42rlo 345.10:4 sudly {Planxty Sudley} FW 345, 566 http://bob- blair.org/moore_irish_melodies_5.htm 345.14:3 Fearwealing of the groan! {The Wearing of the Green} FW 093-094, 273, 321, http://en.wikipedia.org/wiki/The_Wea ring_of_the_Green 341, 345, 408, 411, 464, 516 http://www.youtube.com/watch?v=BK nmNll1AbM 345.22:10 guidness, my good, to see {Nearer, My God, to Thee} FW 345 http://en.wikipedia.org/wiki/Nearer,_ My_God,_to_Thee

https://www.youtube.com/watch?v=r wLl5nY5WPI 345.24:5 nipper dandy! {The Wearing of the Green} FW 093-094, 273, 321, http://en.wikipedia.org/wiki/The_Wea ring_of_the_Green 341, 345, 408, 411, 464, 516 http://www.youtube.com/watch?v=BK nmNll1AbM 345.24:7 Trink off this scup and be [Drink of this cup {Paddy FW 345 http://www.libraryireland.com/Irish- Melodies/Drink-of-this-cup-1.php bladdy orafferteed! O’Rafferty}] 345.30:5 Theres scares knud in this {The Meeting of the Waters} FW 096, 159, 203, 305, http://www.traditionalmusic.co.uk/son g- gnarld warld a fully so 345, 446, 466, 471-472, midis/Meeting_of_the_Waters_{Original 505, 587, 605 ).htm#.UXVsBbXIvQo svend [. . .] boesen https://www.youtube.com/watch?v=X VcwToW6chk

FW 346

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 187 ______

346.08:8 never elding, still {Alexander’s Feast} FW 346, 366, 625 http://en.wikipedia.org/wiki/Alexande r's_Feast_{Handel) begidding https://www.youtube.com/watch?v=Ei Ei14tfaeQ 346.14:11 Peadhar Piper {Peter Piper} FW 104, 112, 346, 616 http://en.wikipedia.org/wiki/Peter_Pip er

https://www.youtube.com/watch?v=6 CMHrDDWado 346.15:8 bealting pots to dubrin din {Clap Hands} FW 346 http://en.wikipedia.org/wiki/The_Clap ping_Song for old daddam https://www.youtube.com/watch?v=3c dombstorm to tomb L-FVHpphk 346.17:6 rise up road and hive up {There were two blackbirds} FW 346 http://www.grandmasnurseryrhymes.c om/twoblackbirds.html hill https://www.youtube.com/watch?v=Fh zyAn1gOPQ 346.18:4 pollyvoulley foncey {Polly Wolly Doodle} FW 240, 250, 328, 346, http://en.wikipedia.org/wiki/Polly_Wo lly_Doodle 379, 454, 486, 508 https://www.youtube.com/watch?v=8 COB4_i5rcA 346.22:1 piddyawhick! {Paddy Whack} FW 064, 086, 289, 346, http://www.lyrics007.com/Paddy%20K elly%20Lyrics/Knick-Knack-Paddy- 353, 378, 596 Wack%20Lyrics.html

https://www.youtube.com/watch?v=ra

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 188 ______

Id3MOU2Es 346.22:8 Ath yetheredayth noth {The Day Thou Gavest, Lord, FW 257, 346, 598, http://cyberhymnal.org/htm/d/a/dayt houg.htm endeth, hay? Is Ended} https://www.youtube.com/watch?v=FT eGSG50JBE 346.27:1 Shinfine, deed in the {One Fine Day in the Middle FW 191, 346, 347, 556, https://www.youtube.com/watch?v=Y7 DTaGMUpYU myrtle of the bog tway of the Night} 624 fainmain stod op to slog

FW 347

347.01:4 a white horsday where the {One Fine Day in the Middle FW 191, 346, 347, 556, https://www.youtube.com/watch?v=Y7 DTaGMUpYU midril met the bulg of the Night} 624 347.14:7 winn again {Finnegan’s Wake} FW 004, 005, 006, 015, https://www.youtube.com/watch?v=q6 CHq9mXkJ8 024, 034, 074, 089, 093, 105, 143, 176, 221, 240, 258, 276, 297, 313-314, 317, 321, 332, 337, 347, 351, 357, 358, 375, 379, 415, 453, 496-497, 499, 503, 506, 511, 519, 531,

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 189 ______

537, 576, 580, 594, 607, 617, 621, 621, 628 347.15:4 plays goat, the banshee {The Peeler and the Goat} FW 005, 323, 327, 347, http://en.wikipedia.org/wiki/The_Peel er_and_the_Goat pealer 374, 441, 522, 589 https://www.youtube.com/watch?v=M HwZhuSPR1M

FW 348

348.26:1 For lispias harth a burm in [Lesbia hath a beaming eye FW 093, 348, 376, 512 http://www.musicanet.org/robokopp/ eire/lesbiaha.htm eye but whem it bames {Nora Creina}] fire norone screeneth. 348.32:3 passing the uninational {Dashing Away with a FW 348, 395, 582 http://en.wikipedia.org/wiki/Dashing_ Away_with_the_Smoothing_Iron truthbosh in smoothing Smoothing Iron} https://www.youtube.com/watch?v=JA irony B9Fml7YLc 348.33:8 The rib, the rib [. . .] {The wren, the wren, the king FW 044, 045, 046, 105, http://www.musicanet.org/robokopp/s cottish/thewren.htm world! of all birds} 256, 340, 348, 355, 363, 376, 430, 431, 504 https://www.youtube.com/watch?v=h X7icoFY0U0 348.35:1 Rhoda Cockardes [. . .] {Ride a cock horse} FW 040, 102, 104, 121, http://en.wikipedia.org/wiki/Ride_a_c ock_horse_to_Banbury_Cross Till they’re kinks in their 348-349, 363

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 190 ______

tringers and boils on their https://www.youtube.com/watch?v=tQ t4aFacEG0 taws. 348.35:1 Rhoda Cockardes [. . .] {I’ve Got Rings on My FW 102, 104, 348-349 http://en.wikipedia.org/wiki/I've_Got_ Rings_On_My_Fingers Till they’re kinks in their Fingers} https://www.youtube.com/watch?v=i tringers and boils on their Wog0KzfWNM taws.

FW 349

349.04:6 For zahur and {Zar und Zimmermann} FW 349 http://en.wikipedia.org/wiki/Zar_und _Zimmermann zimmerminnes! https://www.youtube.com/watch?v=A NKcZZK7rV0 349.35:1 hereis cant came back [. . .] {Casey Jones} FW 231-232, 349-350, https://www.youtube.com/watch?v=w 8qTKyb0EcY he caudnt stail awake 427

FW 350

350.21:2 With askormiles’ {Carmen} FW 350, 360, 448 http://en.wikipedia.org/wiki/Carmen

https://www.youtube.com/watch?v=v

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 191 ______

eskermillas. Hnl29pnSuc 350.26:7 tomiatskyns {Tommy Atkins} FW 125, 241, 281, 350, http://www.halhkmusic.com/gaietygirl /agg11.html 436, 588 350.31:5 sand us and saint us and {Father O’Flynn} FW 089, 095, 101, 183, http://www.ireland- information.com/irishmusic/fatheroflyn sound as agun! 237, 257, 265, 279, 338, n.shtml 350, 408, 419, 439, 454, https://www.youtube.com/watch?v=0g 512, 562 1bBvTg1bU 350.36:10 send us victorias {God Save the Queen} FW 098, 240, 350-351, http://en.wikipedia.org/wiki/God_Sav e_the_Queen 498, 499 https://www.youtube.com/watch?v=tN 9EC3Gy6Nk

FW 351

351.09:5 durck rosolum {My Dark Rosaleen} FW 093, 351, 365, 476 http://www.bartleby.com/101/664.htm l

https://www.youtube.com/watch?v=h E04wYivfI0 351.11:2 when our woos with the {Wine, Women and Song} FW 056, 177, 351, 610 http://en.wikipedia.org/wiki/Wine,_w omen_and_song wenches went wined for a https://www.youtube.com/watch?v=rT song -YXwN2Mdg

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 192 ______

351.14:6 And we all tuned in [. . .] {Phil the Fluter’s ball} FW 006, 012, 043, 058, http://en.wikisource.org/wiki/Phil_the _Fluther%27s_Ball almistips all round! 063, 076, 230, 240, 297, 318, 319, 335, 341, 351, http://www.youtube.com/watch?v=_x_ 50hB3lCM 363, 444, 531 351.17:6 Togatogtug. {Rub-a-dub-dub} FW 178, 239, 290, 351 http://en.wikipedia.org/wiki/Rub-a- dub-dub http://www.youtube.com/watch?v=x2v Z6Z_gG0E 351.17:7 My droomodose days Y [The dream of those days {I FW 351, 601 http://www.musicanet.org/robokopp/ eire/thedream.htm loved you abover all the love you above all else}] strest.

FW 352

352.17:1 the volkar boastsung {The Volga Boat Song} FW 352 http://en.wikipedia.org/wiki/The_Son g_of_the_Volga_Boatmen

https://www.youtube.com/watch?v=8 WD0WVL-HjE 352.21:8 lolly his liking [. . .] lilly {Lullay, My Liking} FW 352 http://en.wikipedia.org/wiki/Lullay,_ mine_liking

https://www.youtube.com/watch?v=K XH7062QOBg

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 193 ______

FW 353

353.14:4 Olefoh, the surd of foemoe [Oh for the sword of former FW 353 http://www.musicanet.org/robokopp/ eire/ohforthe.htm times! Unknun! times {air unknown}] 353.17:5 puddywhuck. {Paddy Whack} FW 064, 086, 289, 364, http://www.lyrics007.com/Paddy%20K elly%20Lyrics/Knick-Knack-Paddy- 353, 378, 596 Wack%20Lyrics.html

https://www.youtube.com/watch?v=ra Id3MOU2Es 353.20:4 With my how on armer [. . {Who killed Cock Robin?} FW 006, 007, 095, 211, http://en.wikipedia.org/wiki/Cock_Ro bin .] Sparro! 245, 256, 328, 333, 353, 361, 362, 383, 384, 568, https://www.youtube.com/watch?v=Eg 2F-I5bMIo 588

FW 354

354.15:6 brawl [. . .] Lanigan [. . {Lannigan’s Ball} FW 006, 321, 354, 377 https://www.youtube.com/watch?v=G Fwjp3GfEGM .] Hall 354.15:5 barney brawl {Willie brewed a peck o’ FW 003, 271, 354, 602 http://www.bbc.co.uk/arts/robertburn s/works/willie_brewd_a_peck_o_maut/

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 194 ______

maut} https://www.youtube.com/watch?v=M nYmEtym2hM 354.15:5 barney brawl {The Soldier’s Song} FW 330, 350, 354, 469, http://en.wikipedia.org/wiki/Amhr%C 3%A1n_na_bhFiann 510 https://www.youtube.com/watch?v=Qf gnVMFtd7E

FW 355

355.10:4 Abdul Abulbul Amir or {Abdul the Bulbul Ameer} FW 355, 360, 365, 476, http://en.wikipedia.org/wiki/Abdul_A bulbul_Amir Ivan Slavansky Slavar. 597 https://www.youtube.com/watch?v=1 Gt0PRpnShQ 355.11:6 In alldconfusalem. {The Holy City} FW 105, 355, 406 http://en.wikipedia.org/wiki/The_Hol y_City_{song)

https://www.youtube.com/watch?v=28 LIXGF2d1o 355.11:6 In alldconfusalem. {Kafoozalem} FW 258, 355 http://www.ibiblio.org/bawdy/ballads /kafoozalem.html 355.16:9 them rollicking rogues {The Rocky Road to Dublin} FW 014, 064, 197, 244, http://en.wikipedia.org/wiki/Rocky_R oad_to_Dublin [. . .] Rambling. 287, 315, 323, 328, 341, 355, 514, 555, 565, 623 http://www.youtube.com/watch?v=yv vMuJ_VeX4

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 195 ______

355.16:9 them rollicking rogues {O Didn’t He Ramble!} FW 355, 506 http://www.sing365.com/music/lyric.n sf/Oh-Didn't-He-Ramble-lyrics-Louis- [. . .] Rambling. Armstrong/73F210B028730D3748256970 0016E539

https://www.youtube.com/watch?v=R DN5wjUBHq4 355.19:2 arooned {Eileen Aroon} FW 210, 355, 620 http://www.bartleby.com/101/663.htm l

https://www.youtube.com/watch?v=w Os0Kv7H4BA 355.19:1 Nightclothesed [. . .] thy [Night closed around the FW 355 http://www.musicanet.org/robokopp/ eire/nightclo.htm fair bosom. conqueror’s sway {After the battle thy fair bosom}] 355.25:10 sats and suns, the sat of all {Son of a Gombolier} FW 229, 317, 323, 355 http://sniff.numachi.com/pages/tiSON GAMB;ttSONGAMB.html the suns [. . .] sats of his http://www.youtube.com/watch?v=O sun w1dznt-RrU 355.25:10 sats and suns, the sat of all {The Wren, the Wren, the FW 044, 045, 046, 105, http://www.musicanet.org/robokopp/s cottish/thewren.htm the suns [. . .] sats of his king of all birds} 256, 340, 348, 355, 363, 376, 430, 431, 504 https://www.youtube.com/watch?v=h sun X7icoFY0U0

FW 357

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 196 ______

357.20:4 I doot my sliding panel {I Lift Up My Finger and I FW 357, 358 http://archive.org/details/LeslieSarony - and I hear cawcaw Say Tweet Tweet} ILiftUpMyFingerAndISayTweetTweet19 29 357.23:5 malice for misfortune {Where are you going, my FW 273, 336, 357, 476, http://www.rhymes.org.uk/a112- where-are-you-going-my-pretty- pretty maid?} 512 maid.htm

https://www.youtube.com/watch?v=Z TItkM60LY0

FW 358

358.01:3 when I ope my shylight {I Lift Up My Finger and I FW 357, 358 https://www.youtube.com/watch?v=V GBTCrsZpRo window and I see coocoo Say Tweet Tweet} 358.08:7 homesweetstown {Home, Sweet Home} FW 080, 138, 173, 358, http://en.wikipedia.org/wiki/Home!_S weet_Home! 398, 443, 465, 494, 533, 609 https://www.youtube.com/watch?v=7S BV1PeMfkY 358.19:2 how that win a gain was in {Old Michael Finnegan} FW 117, 121, 272, 358, http://en.wikipedia.org/wiki/Michael_ Finnegan_{song) again. 580 https://www.youtube.com/watch?v=j1 qlOaxdy9s 358.22:3 Qith the tou loulous and {British Grenadiers} FW 091, 358 http://en.wikipedia.org/wiki/The_Briti sh_Grenadiers

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 197 ______

the gryffygryffygryffs https://www.youtube.com/watch?v=Xs W4FoRzhQw 358.23:4 the Wildemanns {The Wild Man from Borneo FW 130, 131, 345, 358, http://www.sing365.com/music/lyric.n sf/Wild-Man-From-Borneo-lyrics-Kinky- Has Just Come to Town} 382, 415, 481, 482, 502 Friedman/1CF8E030DC980CD748256AB 500267DA7

https://www.youtube.com/watch?v=w pvC7U42rlo

FW 359

359.19:4 singaloo sweecheeriode {Swing Low, Sweet Chariot} FW 100, 279, 359 http://en.wikipedia.org/wiki/Swing_L ow,_Sweet_Chariot

https://www.youtube.com/watch?v=G Sb273c9tm4 359.19:6 sock him up, the oldcant {Knocked’em in the Old Kent FW 359, 584 http://monologues.co.uk/musichall/So ngs-K/Knocked-Em-Kent-Road.htm rogue. Road} https://www.youtube.com/watch?v=75 HL7rGQpVQ 359.28:4 Lhirondella , jaunty {Alouette} FW 359, 450 https://www.youtube.com/watch?v=L_ hFw_cWg9U lhirondella!

FW 360

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 198 ______

360.02:6 Twittwin twosingwoolow. {Titwillow} FW 360 http://www.guntheranderson.com/v/d ata/titwillo.htm

https://www.youtube.com/watch?v=A oAmmiTzliI 360.05:5 full theorbe, now dulcifair {Fill the bumper fair} FW 360, 607 http://www.kellscraft.com/Fillbumper. html 360.08:8 wheckfoolthenairyans {Whack Fol the Diddle} FW 042, 332, 360 http://www.kinglaoghaire.com/site/lyr ics/song_446.html

https://www.youtube.com/watch?v=m gYYFXH2YmE 360.12:6 night’s sweetmoztheart {Goodnight, Sweetheart} FW 360 https://www.youtube.com/watch?v=T_ Y1hcHnUrg 360.12:5 nocturnefield, night’s {Queen of the Night’s aria in FW 360 http://en.wikipedia.org/wiki/The_Mag ic_Flute sweetmoztheart, their Mozart’s The Magic Flute} https://www.youtube.com/watch?v=O Carmen Sylvae, my quest, P9SX7V14Z4 my queen. 360.13:1 Carmen Sylvae {Care selve} FW 360 http://artsongcentral.com/2008/handel -care-selve/

http://www.youtube.com/watch?v=e7 wu0j2Ok0A 360.13:3 my quest, my queen. {Questa o quella} FW 061, 183, 360, 419 http://www.aria- database.com/translations/rig02_questo. txt

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 199 ______

https://www.youtube.com/watch?v=V QRRopSru8E 360.13:3 my quest, my queen. {My Queen} FW 360 360.13:5 my queen. Lou must wail {Call Me Early, Mother Dear} FW 060, 208, 360 http://www.oocities.org/unclesamsfar m/songs/mayqueen.htm to cool me airly! Coil me curly, warble dear! 360.23:1 Bulbul, bulbulone! {Abdul the Bulbul Ameer} FW 355, 360, 365, 476, http://en.wikipedia.org/wiki/Abdul_A bulbul_Amir 597 https://www.youtube.com/watch?v=1 Gt0PRpnShQ 360.24:3 youd remesmer. {Then you’ll remember me} FW 088, 135, 170, 235, http://www.aria- database.com/search.php?individualAri 245, 276, 360, 460, 461, a=897 508, 628 https://www.youtube.com/watch?v=V aA4eK3PxsI 360.26:10 O gui, O gui! {O gai, O gai, O gai} FW 332, 360 360.28:5 I soared form the peach [I saw from the beach, when FW 148, 168, 360 http://www.litscape.com/author/Thom as_Moore/I_Saw_From_The_Beach.html and Missmolly showed the morning was shining {Miss Molly}] https://www.youtube.com/watch?v=d0 hear pear. 5K1d4ncuk

https://www.youtube.com/watch?v=kf BdHfg1Gpg 360.29:9 Whet the bee as to [What the bee is to the FW 360 http://www3.cpdl.org/wiki/index.php /What_the_bee_is_to_the_flow'ret_{Char

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 200 ______

deflowret greendy grassies flow’ret {The Yellow Horse}] les_Villiers_Stanford) yellowhorse. 360.33:3 Dingoldell! {Ding Dong Bell} FW 360, 361, 588 http://en.wikipedia.org/wiki/Ding_Do ng_Bell

https://www.youtube.com/watch?v=qj mxqpVnjFU

FW 361

361.10:1 Naytellmeknot tennis! [Nay, tell me not, dear, that FW 248, 361 http://www.musicanet.org/robokopp/ eire/naytellm.htm Taunt me treattening! the goblet drowns {Dennis, don’t be threatening}] 361.11:3 Ingean mingen has to hear. {Engine, Engine, Number FW 361 Five} 361.14:6 Wing wong welly [. . .] {Ding Dong Bell} FW 360, 361, 588 http://en.wikipedia.org/wiki/Ding_Do ng_Bell pullet out? https://www.youtube.com/watch?v=qj mxqpVnjFU 361.15:10 Call Kitty Kelly! {Pretty Kitty Kelly} FW 361 http://lyricsplayground.com/alpha/son gs/p/prettykittykelly.shtml Kissykitty Killykelly! https://www.youtube.com/watch?v=Ig EzSvnbO4s

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 201 ______

361.18:1 Here all the leaves [. . .] {Who killed Cock Robin?} FW 006, 007, 095, 211, http://en.wikipedia.org/wiki/Cock_Ro bin alaughing 245, 256, 328, 333, 353, 361, 362, 383, 384, 568, https://www.youtube.com/watch?v=Eg 2F-I5bMIo 588 361.25:5 bester of the boyne! {Battle of the Boyne} FW 098, 114, 130, 137, https://www.youtube.com/watch?v=o1 KggmYgHKY 337, 341, 361, 372, 538

FW 362

362.18:3 mould the bould she sould {Who killed Cock Robin?} FW 006, 007, 095, 211, http://en.wikipedia.org/wiki/Cock_Ro bin to hould the wine that 245, 256, 328, 333, 353, 361, 362, 383, 384, 568, https://www.youtube.com/watch?v=Eg wakes the barley 2F-I5bMIo 588

362.18:3 mould the bould she sould {The Wind That Shakes The FW 362, 428 http://en.wikipedia.org/wiki/The_Win d_That_Shakes_the_Barley to hould the wine that Barley} https://www.youtube.com/watch?v=k7 wakes the barley DiNTzzJzg 362.18:3 mould the bould she sould {Elsie Marley} FW 362, 365 http://www.joe- offer.com/folkinfo/songs/75.html to hould the wine that https://www.youtube.com/watch?v=vt wakes the barley telqg5c4o

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 202 ______

362.22:4 Like the bright lamps, [Like the bright lamp, that FW 362 http://www.musicanet.org/robokopp/ eire/liketheb.htm Thamamahalla shone in Kildare’s holy fane {Thamma Halla}]

FW 363

363.02:11 hitch a cock eye {Ride a cock horse} FW 040, 102, 104, 121, http://en.wikipedia.org/wiki/Ride_a_c ock_horse_to_Banbury_Cross 348-349, 363 https://www.youtube.com/watch?v=tQ t4aFacEG0 363.05:3 the rann, the rann, that {The Wren, the Wren, the FW 044, 045, 046, 105, http://www.musicanet.org/robokopp/s cottish/thewren.htm keen of old bards king of all birds} 256, 340, 348, 355, 363, 376, 430, 431, 504 https://www.youtube.com/watch?v=h X7icoFY0U0 363.08:9 Almayne Rogers [. . .] {Old Man River} FW 288, 363, 364, 599 http://en.wikipedia.org/wiki/Ol'_Man_ River Heat waves rasing [. . .] https://www.youtube.com/watch?v=eh Howlong! 9WayN7R-s 363.12:1 You know that tom? [. . .] {Certainly, Lord!} FW 232, 363 http://www.allgospellyrics.com/?sec=li sting&lyricid=12002 Soothinly low. https://www.youtube.com/watch?v=g_ BfBVYZOtU 363.14:1 Does they ought [. . .] {Phil the Fluter’s Ball} FW 006, 012, 043, 058, http://en.wikisource.org/wiki/Phil_the _Fluther%27s_Ball

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 203 ______

foil the flouter 063, 076, 230, 240, 297, http://www.youtube.com/watch?v=_x_ 318, 319, 335, 341, 351, 50hB3lCM 363, 444, 531

FW 364

364.08:3 The green approve the {The Green above the Red} FW 364 http://www.ucc.ie/celt/published/E85 0004-027/text001.html raid! https://www.youtube.com/watch?v=s OGRchbILos 364.08:8 Shaum Baum’s bode he is {The Shan Van Vocht} FW 048, 054, 077, 323, http://www.finnegansweb.com/wiki/i ndex.php/The_Shan_Van_Vocht amustering in the groves 364, 372, 435, 465, 479 while his shool comes mergin along! 364.08:8 Shaum Baum’s bode he is {John Brown’s Body} FW 271, 276, 304, 364, http://en.wikipedia.org/wiki/John_Bro wn's_Body amustering in the groves 415, 594 https://www.youtube.com/watch?v=js while his shool comes o1YRQnpCI mergin along! 364.08:8 Shaum Baum’s bode he is {Old Man River} FW 288, 363, 364, 599 http://en.wikipedia.org/wiki/Ol'_Man_ River amustering in the groves

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 204 ______

while his shool comes https://www.youtube.com/watch?v=eh 9WayN7R-s mergin along! 364.11:11 lest I forget {The Recessional} FW 069, 364, 576 http://www.poetryfoundation.org/poe m/176152 364.13:10 so wingtywish to flit {Sing a song of sixpence} FW 010, 011, 129, 134- http://en.wikipedia.org/wiki/Sing_a_S ong_of_Sixpence beflore their kin! 135, 147, 167, 190, 232, 236, 242, 244, 267, 276, https://www.youtube.com/watch?v=gv fdueZecVk 279, 300, 364, 377, 407, 450 364.26:5 Tunpother, prison and {Guy Fawkes} FW 087, 177, 364 http://www.jackolanterns.net/guyfawk esverse1.htm plotch! 364.34:3 my old chuck! [. . .] gay {My Old Dutch} FW 105, 364, 459 http://en.wikipedia.org/wiki/My_Old_ Dutch_(song) at ninety! https://www.youtube.com/watch?v=q2 tsp5gNO3U

FW 365

365.16:7 Don Amir {Abdul the Bulbul Ameer} FW 355, 360, 365, 476, http://en.wikipedia.org/wiki/Abdul_A bulbul_Amir 597 https://www.youtube.com/watch?v=1 Gt0PRpnShQ

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 205 ______

365.16:7 Don Amir {Sean a Dhuir a Ghleanna} FW 014, 025, 093, 116, http://www.youtube.com/watch?v=5nr f-C5teQA 239, 365, 602, 621 365.23:10 rovely lanes. {My Dark Rosaleen} FW 093, 351, 365, 476 http://www.bartleby.com/101/664.htm l

https://www.youtube.com/watch?v=h E04wYivfI0 365.29:13 marly lowease {Elsie Marley} FW 362, 365 http://www.joe- offer.com/folkinfo/songs/75.html

https://www.youtube.com/watch?v=C HBEmkdFTRI

FW 366

366.10:7 when on with the balls did {Alexander’s Feast} FW 346, 366, 625 http://en.wikipedia.org/wiki/Alexande r's_Feast_{Handel) disserve the fain https://www.youtube.com/watch?v=Ei Ei14tfaeQ 366.23:9 trovatellas {Il Trovatore} FW 301, 341, 366 http://en.wikipedia.org/wiki/Il_trovato re

https://www.youtube.com/watch?v=r Ms3Yrp4W0w 366.32:1 And dong wonged {Down Went McGinty} FW 085, 231, 316, 366 http://www.traditionalmusic.co.uk/son gster/24-down-went- Magongty [. . .] sort of mcginty.htm#.UXaZy7XIvQo

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 206 ______

cloose. https://www.youtube.com/watch?v=Iz omNUuP82U

FW 367

367.24:9 the foggy doze {The Foggy Dew} FW 389, 454 http://en.wikipedia.org/wiki/Foggy_D ew

https://www.youtube.com/watch?v=dS s2VJBfOUo 367.34:2 vode’s dodos {Hokey Pokey} FW 071, 078, 234, 254, http://en.wikipedia.org/wiki/Hokey_c okey 256, 315, 368, 542, 558 https://www.youtube.com/watch?v=ok EBfQk6SXI 367.34:2 vode’s dodos (Vo-do-do-de-o Blues) FW 367, 531 https://www.youtube.com/watch?v=P Z3vl9DkbzI

FW 368

368.10:4 this little figgy [. . .] into {This little piggy went to FW 368, 496 http://en.wikipedia.org/wiki/This_Littl e_Piggy porker market} https://www.youtube.com/watch?v=Lx 0KTEtFpb4

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 207 ______

368.27:1 K. C. jowls [. . .] if their {Casey Jones} FW 231-232, 349-350, https://www.youtube.com/watch?v=w 8qTKyb0EcY ruse won’t rise. 368, 427 368.29:7 Whooley the Whooper {Willie the Weeper} FW 340, 368 http://en.wikipedia.org/wiki/Willie_th e_Weeper

https://www.youtube.com/watch?v=C GZPALNbLY0

FW 369

369.13:2 the tout that pumped [. . .] {The House That Jack Built} FW 008-010, 018, 080, http://en.wikipedia.org/wiki/This_Is_t he_House_That_Jack_Built that Joax pilled. 106, 205, 271, 274, 369, 375, 439, 476, 511, 580 https://www.youtube.com/watch?v=h GP8wqE0Kkg

FW 370

370.04:1 thoughy onced at a [Through grief and through FW 022-023, 054, 232, http://www.musicanet.org/robokopp/ eire/throughg.htm throughlove, true danger, or The Irish peasant 291, 370, 439, 503, 515 to his mistress {I once had a https://www.youtube.com/watch?v=ce grievingfrue danger, as a fTcE29p6o true love}] nirshe persent to his https://www.youtube.com/watch?v=cV ScpQev-_Q

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 208 ______

mistress, 370.04:1 thoughy onced at a {All Around My Hat I Wear a FW 022-023, 054, 232, http://en.wikipedia.org/wiki/All_Arou nd_My_Hat_{song) throughlove, true Tricolored Ribbon} 291, 370, 439, 503, 515 https://www.youtube.com/watch?v=7 grievingfrue danger, as a Gq_S06ytJM nirshe persent to his mistress,

FW 371

371.06:1 Dear douchy [. . .] from {Tom, Tom, the Piper’s Son} FW 176, 277, 371, 385 http://en.wikipedia.org/wiki/Tom,_To m,_the_Piper's_Son the say. https://www.youtube.com/watch?v=27 gT8eAVuyE 371.06 - (Water Parted from the Sea) FW 371, 371, 371, 372, http://en.wikipedia.org/wiki/Artaxerx es_(opera) 371.09 373, 541 371.15:2 the last dropes of [‘Tis the last rose of summer FW 157, 371, 433 http://www.bartleby.com/41/487.html

summour [. . .] {The Groves of Blarney}] https://www.youtube.com/watch?v=U UpG_mlU1dM blarneying. http://www.bartleby.com/333/135.htm l

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 209 ______

371.06 - (Water Parted from the Sea) FW 371, 371, 371, 372, http://en.wikipedia.org/wiki/Artaxerx es_(opera) 371.09 373, 541 371.18 - (Water Parted from the Sea) FW 371, 371, 371, 372, http://en.wikipedia.org/wiki/Artaxerx es_(opera) 371.20 373, 541 371.30 - (Water Parted from the Sea) FW 371, 371, 371, 372, http://en.wikipedia.org/wiki/Artaxerx es_(opera) 371.32 373, 541

FW 372

372.05:2 While the dumb [. . .] {Polly, put the kettle on} FW 023, 117, 161, 229, http://en.wikipedia.org/wiki/Polly_Put _the_Kettle_On pour forth. 236, 330, 332, 372, 585 https://www.youtube.com/watch?v=G T7T4tJzuZk 372.07:2 a barttler of the beauyne {Battle of the Boyne} FW 098, 114, 130, 137, https://www.youtube.com/watch?v=o1 KggmYgHKY 337, 341, 361, 372, 538 372.26:4 And roll in clover on his {Roll Me Over, in the Clover} FW 372, 451, 597 http://www.horntip.com/mp3/1990s/1 995_bang_bang_lulu__padmini_records_ clay {CD)/03_roll_me_over_in_the_clover.ht m

https://www.youtube.com/watch?v=h RSjdBb3-pI 372.28:4 Mountone [. . .] Dew {The Mountain Dew} FW 095, 136, 277, 372 http://en.wikipedia.org/wiki/Good_Ol d_Mountain_Dew

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 210 ______

https://www.youtube.com/watch?v=ug 8p5pVsj9U 372.28:10 corry awen and glowry! {Garryowen} FW 215, 372, 526, 588 http://www.1cda.org/Garryowen.htm

https://www.youtube.com/watch?v=p ZuGQJVftsk 372.30:7 burgherbooh {Aboard the Bugaboo} FW 304, 372 http://www.traditionalmusic.co.uk/son gster/05-the- bugaboo.htm#.UXa0gLXIvQo 372.30:8 The Shanavan Wacht. {The Shan Van Vocht} FW 048, 054, 077, 323, http://www.finnegansweb.com/wiki/i ndex.php/The_Shan_Van_Vocht 364, 372, 435, 465, 479 372.31:2 Rantinroarin {Rantin’ Roarin Robin} FW 372 http://www.bbc.co.uk/arts/robertburn s/works/rantin_rovin_robin/

https://www.youtube.com/watch?v=Gj H5__HxlTs 372.31:6 that whistling thief {The Whistlin’ Thief} FW 372 http://www.lionslair.com/Lyrics/Whist ling_Thief.html

https://www.youtube.com/watch?v=6E cjei8j2cI 372.32:1 O’Ryne O’Rann. {Brian O’Linn} FW 006, 017, 060, 070, http://chivalry.com/cantaria/lyrics/bri an_olynn.html 148, 240, 275, 328, 338, 372, 373, 507 https://www.youtube.com/watch?v=R YTQNJlZPT0

FW 373

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 211 ______

373.09:1 The gangstairs strain and {The Anchor’s Weighed} FW 373, 457 http://ingeb.org/songs/thetearf.html anger’s up 373.16:5 Bruni Lanno’s woolies on {Brian O’Linn} FW 006, 017, 060, 070, http://chivalry.com/cantaria/lyrics/bri an_olynn.html Brani Lonni’s hairyparts. 148, 240, 275, 328, 338, 372, 373, 507 https://www.youtube.com/watch?v=R YTQNJlZPT0

FW 374

374.01:4 To tell how your mead of, {What are little girls made FW 020 http://en.wikipedia.org/wiki/What_Ar e_Little_Boys_Made_Of%3F mard, is made of. of?} https://www.youtube.com/watch?v=lw NAzDqXdx8 374.16:8 the Boy of Biskop [. . .] {The Bay of Biscay} FW 374 http://lyricsplayground.com/alpha/son gs/t/thebayofbiscay.shtml As we’ll lay till break of https://www.youtube.com/watch?v=bb day in the bunk of basky, sFTbK4GBs O! 374.19:3 Our island, Rome and {The Death of Nelson} FW 374, 466 http://52folksongs.com/2011/11/11/fs 11-the-death-of-nelson/ duty!

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 212 ______

374.26:5 peeler after cooks {The Peeler and the Goat} FW 005, 323, 327, 347, http://en.wikipedia.org/wiki/The_Peel er_and_the_Goat 374, 441, 522, 589 https://www.youtube.com/watch?v=M HwZhuSPR1M

FW 375

375.02:1 finger a pudding in {Georgie Porgie} FW 037, 179, 279, 327, http://en.wikipedia.org/wiki/Georgie_ Porgie pudding and pie. 375 https://www.youtube.com/watch?v=fH PBr6-sTQ8 375.04:5 the house that juke built! {The House That Jack Built} FW 008-010, 018, 080, http://en.wikipedia.org/wiki/This_Is_t he_House_That_Jack_Built 106, 205, 271, 274, 369, 375, 439, 476, 511, 580 https://www.youtube.com/watch?v=h GP8wqE0Kkg 375.21:8 Richmond Rover! {Roddy More, the Rover} FW 228, 375

FW 376

376.24:9 bunkledoodle {Yankee Doodle} FW 071, 258, 329, 376, http://en.wikipedia.org/wiki/Yankee_ Doodle 404, 418, 464, 622 https://www.youtube.com/watch?v=Iz

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 213 ______

RhFH5OyHo 376.31:1 Rowley the Barell. {Roll Out the Barrel} FW 376 http://www.metrolyrics.com/beer- barrel-polka-roll-out-the-barrel-lyrics- the-andrews-sisters.html

https://www.youtube.com/watch?v=9S fyObUd5e8 376.32:9 The Fenn, the Fenn, the {The Wren, the Wren, the FW 044, 045, 046, 105, http://www.musicanet.org/robokopp/s cottish/thewren.htm kinn of all Fenns! king of all birds} 256, 340, 348, 355, 363, 376, 430, 431, 504 https://www.youtube.com/watch?v=h X7icoFY0U0 376.34:2 Croonacreena . [Nora Creina {Lesbia hath a FW 093, 348, 376, 512 http://www.musicanet.org/robokopp/ eire/lesbiaha.htm beaming eye}]

FW 377

377.04:4 Mawgraw ! {Master McGrath} FW 004, 060, 145, 212, http://martindardis.com/id743.html https://www.youtube.com/watch?v=M 243, 377, 511, 584, 622 H94QQOM4W4 377.05:8 The groom [. . .] Gun! {Sing a song of sixpence} FW 010, 011, 129, 134- http://en.wikipedia.org/wiki/Sing_a_S ong_of_Sixpence 135, 147, 167, 190, 232, 236, 242, 244, 267, 276, https://www.youtube.com/watch?v=gv fdueZecVk 279, 300, 364, 377, 407, 450

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 214 ______

377.12:2 in the garb of nine. {In the Garb of Old Gaul} FW 377 http://www.rampantscotland.com/son gs/blsongs_gaul.htm

https://www.youtube.com/watch?v=w Nxyxt6MFz8 377.15:1 Mumblesome Wadding {Wedding March} FW 377 http://en.wikipedia.org/wiki/Wedding _March_{Mendelssohn) Murch https://www.youtube.com/watch?v=4t DYMayp6Dk 377.19:10 brideen Alannah {Eileen Alannah} FW 197, 377 http://www.myspace.com/johnmccorm ack/music/songs/eileen-alanna- 79528141

https://www.youtube.com/watch?v=b Ulg6xues78 377.25:6 brake the news to morhor. {Break the News to Mother} FW 377 https://www.youtube.com/watch?v=yE QZJTsnStE 377.27:1 Shonny Bhoy {Sonny Boy} FW 377, 603 http://en.wikipedia.org/wiki/Sonny_B oy_{song)

https://www.youtube.com/watch?v=83 gh5omJdOU 377.29:8 Laying the cloth [. . .] {One More Drink for the Four FW 057, 063, 080, 094, core of them. of Us} 214, 377, 384, 385, 387, 389, 555

FW 378

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 215 ______

378.06:3 Arrorsure, he’s the [O! Arranmore {Killdroughalt FW 378, 588 http://spikesmusic.spike- jamie.com/irish/13/O-ARRANMORE- mannork of Arrahland [. . Fait}] MY-ARRANMORE.pdf

.] The https://www.youtube.com/watch?v=C lewdningblebolteredalluc 2eHUehQ6PQ ktruckalltraumconductor! 378.16:4 Digerrydigeerydock {Hickory, Dickory, Dock} FW 261, 314, 378 http://en.wikipedia.org/wiki/One,_Tw o,_Buckle_My_Shoe

http://www.youtube.com/watch?v=d2 P5bVpLO50

http://en.wikipedia.org/wiki/Hickory_ Dickory_Dock

https://www.youtube.com/watch?v=5y nIXFCNjjI 378.17:1 He’s alight there still, be {Are Ye Right There, Michael, FW 066, 296, 378 http://en.wikipedia.org/wiki/Are_Ye_ Right_There_Michael Mike! Are Ye Right?} https://www.youtube.com/watch?v=7 w7eH6JuL50 378.20:1 Tiemore moretis tisturb {Lament for the Makaris} FW 378 https://en.wikipedia.org/wiki/Lament_ for_the_Makaris badday! 378.32:1 speech obstruct hostery [. [While History’s muse the FW 064, 086, 289, 346, http://www.litscape.com/author/Thom as_Moore/While_Historys_Muse_The_

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 216 ______

. .] Paddybarke’s echo! memorial was keeping 353, 378, 596 Memorial_Was_Keeping.html

{Paddy Whack}] http://www.lyrics007.com/Paddy%20K elly%20Lyrics/Knick-Knack-Paddy- Wack%20Lyrics.html

https://www.youtube.com/watch?v=ra Id3MOU2Es 378.36:1 aped to foul a dephian in {Off to Philadelphia in the FW 073, 093, 320, 324, http://www.traditionalmusic.co.uk/folk -song-lyrics/Off_to_Philadelphia.htm the Mahnung. Morning} 330, 378, 436-437, 530 https://www.youtube.com/watch?v=T nJuEsvNPKw

FW 379

379.10:2 Fellow him up too, {Follow Me Up to Carlow} FW 053, 267, 379, 382, http://www.youtube.com/watch?v=tvE CtlJQ4dU Carlow! 382, 466, 479, 538 379.12:10 volleyholleydoodlem! {Polly Wolly Doodle} FW 240, 250, 328, 346, http://en.wikipedia.org/wiki/Polly_Wo lly_Doodle 379, 454, 486, 508 https://www.youtube.com/watch?v=8 COB4_i5rcA 379.31:7 It’s your last fight, {It’s Your Last Voyage, FW 242, 379, 480 Megantic, fear you will! Titanic, Fare You Well} 379.34:2 Right toe, Armitage! [. . .] {The Devil and the Farmer’s FW 379 http://www.robingreenstein.com/iow/l

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 217 ______

We’ve been carried away. Wife} yrics_devil.html

https://www.youtube.com/watch?v=m 5Wv1B-L9_g 379.34:5 Tem for Tam at Timmotty {Finnegan’s Wake} FW 004, 005, 006, 015, https://www.youtube.com/watch?v=q6 CHq9mXkJ8 Hall! 024, 034, 074, 089, 093, 105, 143, 176, 221, 240, 258, 276, 297, 313-314, 317, 321, 332, 337, 347, 351, 357, 358, 375, 379, 415, 453, 496-497, 499, 503, 506, 511, 519, 531, 537, 576, 580, 594, 607, 617, 621, 621, 628

FW 380

380.16:1 the hundred bottles {A Hundred Bottles} FW 380 http://en.wikipedia.org/wiki/99_Bottle s_of_Beer

380.26:4 until he went the grass {The Night before Larry Was FW 315, 330, 380, 517, http://en.wikipedia.org/wiki/The_Nig ht_Before_Larry_Was_Stretched quilt on us stretched} 519, 534

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 218 ______

380.28:5 a bald surging buoy {The Bowld Sojer Boy} FW 093, 336, 380 http://mariah.stonemarche.org/livhis/b owldsojer.htm 380.29:2 three cows {The Woman of Three Cows} FW 380 http://trove.nla.gov.au/ndp/del/article /58429108 380.36:11 their castles of mud {Barnaby Finnegan} FW 006, 380

FW 381

381.10:10 right royal round {A right down regular royal FW 019, 108, 291, 381, https://www.youtube.com/watch?v=ye 38d7HJO3E rollicking toper’s table Queen} 424 381.21:4 ould plaised drawl {The Ould Plaid Shawl} FW 381 http://www.lyricsdrive.com/the-ould- plaid-shawl-lyrics-fa-fahey.html

https://www.youtube.com/watch?v=j4 7e-Tyf0Ws 381.22:4 blurney Cashelmagh [O Blarney Castle, My FW 046, 285, 381 http://www.youtube.com/watch?v=JeC wr9MmiIc crooner [. . .] blackberd’s Darling {The Backbird}] ballad 381.22:7 that lerking Clare air {The Lark in the Clear Air} FW 115, 381, 624 http://www.ireland- information.com/irishmusic/thelarkinth eclearair.shtml

https://www.youtube.com/watch?v=Iu 12vcbjGHA

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 219 ______

381.23:5 I’ve a terrible errible lot {I’ve a terrible lot to do today} FW 067, 111, 257, 381 todue todie todue tootorribleday

FW 382

382.10:7 till the rising of the morn {The Rising of the Moon} FW 382, 408, 516 http://en.wikipedia.org/wiki/The_Risi ng_of_the_Moon

https://www.youtube.com/watch?v=0 CsEfbRwaaQ 382.22:3 Faugh MacHugh O’Bawlar {Faugh a Ballagh} FW 382, 541 http://en.wikipedia.org/wiki/Faugh_A _Ballagh

382.22:3 Faugh MacHugh O’Bawlar {Follow Me Up to Carlow} FW 053, 267, 379, 382, http://en.wikipedia.org/wiki/Follow_ Me_up_to_Carlow 382, 466, 479, 538 http://www.youtube.com/watch?v=tvE CtlJQ4dU 382.25:11 our wineman from {The Wild Man from Borneo FW 130, 331, 345, 358, http://www.sing365.com/music/lyric.n sf/Wild-Man-From-Borneo-lyrics-Kinky- Barleyhome he just Has Just Come to Town} 382, 415, 481, 482, 502 Friedman/1CF8E030DC980CD748256AB 500267DA7 slumped to throne. https://www.youtube.com/watch?v=w pvC7U42rlo

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 220 ______

382.30:1 Now follow we out by {Follow Me Up to Carlow} FW 053, 267, 379, 382, http://www.youtube.com/watch?v=tvE CtlJQ4dU Starloe! 382, 466, 479, 538

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 221 ______

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 222 ______

12. Episode Twelve (17 pages, from 383 to 402)

FW FW Text Song Song Frequency Song information Address

FW 383

383.17:3 All the birds of the sea {Who killed Cock Robin?} FW 006, 007, 095, 211, http://en.wikipedia.org/wiki/Cock_Ro bin they trolled out rightbold 245, 256, 328, 333, 353, 361, 362, 383, 384, 568, https://www.youtube.com/watch?v=Eg 2F-I5bMIo 588 383.19:10 whilest the wildcaps was [The wine cup is circling FW 383, 384 http://www.musicanet.org/robokopp/ eire/thewinec.htm circling {Michael Hoy}] 383.20:4 as slow their ship {As slow our ship} FW 106, 383 http://www.poemhunter.com/poem/as -slow-our-ship/ 383.20:8 the winds aslight {The West’s Awake} FW 064, 321, 383, 424, http://celtic-lyrics.com/lyrics/114.html

449, 469, 473, 496 https://www.youtube.com/watch?v=vJ EyKwGmRCw

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 223 ______

FW 384

384.03:5 and all the birds [. . .] {Who killed Cock Robin?} FW 006, 007, 095, 211, http://en.wikipedia.org/wiki/Cock_Ro bin sighing and sobbing 245, 256, 328, 333, 353, 361, 362, 383, 384, 568, 588 https://www.youtube.com/watch?v=Eg 2F-I5bMIo 384.05:4 Moykle ahoykling! [The wine cup is circling FW 383, 384 http://www.musicanet.org/robokopp/ eire/thewinec.htm {Michael Hoy}] 384.10:4 : here now we are the four {One More Drink for the Four FW 057, 063, 080, 094, and ff. of us: [. . .] and sure, of Us} 214, 377, 384, 385, 387, passim thank God, there are no 389, 555 more of us: 384.21:6 collen bawn {The Colleen Bawn} FW 039, 101, 224, 384, http://en.wikipedia.org/wiki/The_Coll een_Bawn 385, 397, 438 https://www.youtube.com/watch?v=au xLF24uKeo 384.32:8 how one was whips [. . .] {Tea for Two} FW 065, 119, 145, 246, http://en.wikipedia.org/wiki/Tea_for_ Two_(song) was three 260, 332, 384, 457, 584, 603, 620 http://www.youtube.com/watch?v=y0z c7x434Aw

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 224 ______

FW 385

385.01:10 Cullen’s barn {The Colleen Bawn} FW 039, 101, 224, 384, http://en.wikipedia.org/wiki/The_Coll een_Bawn 385, 397, 438 https://www.youtube.com/watch?v=au xLF24uKeo 385.10:6 piping tom {Tom, Tom, the Piper’s Son} FW 176, 277, 371, 385 http://en.wikipedia.org/wiki/Tom,_To m,_the_Piper's_Son

https://www.youtube.com/watch?v=27 gT8eAVuyE 385.27:7 the four of them {One More Drink for the Four FW 057, 063, 080, 094, of Us} 214, 377, 384, 385, 387, 389, 555 385.27:11 in the fair fine night, {Keep Your Head Down, FW 385, 436, 556 http://www.amazon.com/Keep-Your- Head-Down-Fritzi/dp/B004H047HG whilst the stars shine Fritzi Boy} https://www.youtube.com/watch?v=Z bright hIw72eMWuU 385.28:8 by the light of the moo, we {By the Light of the Silvery FW 201, 202, 385, 399 http://en.wikipedia.org/wiki/By_the_L ight_of_the_Silvery_Moon_(song) longed to be spoon, before Moon} https://www.youtube.com/watch?v=og her honeyoldloom gq3LaE1iQ 385.31:4 and now, thank God there {One More Drink for the Four FW 057, 063, 080, 094,

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 225 ______

were no more of them of Us} 214, 377, 384, 385, 387, 389, 555 385.32:5 poghuing and poghuing {When Our Heads Are FW 385 http://www.oremus.org/hymnal/w/w 339.html [. . .] bowed his crusted Bowed with Woe} hoed

FW 386

386.08:12 for a cup of kindness yes {Auld Lang Syne} FW 087, 096, 112, 238, http://en.wikipedia.org/wiki/Auld_La ng_Syne 305, 384, 386, 389, 390, 393, 397, 398, 406, 468, https://www.youtube.com/watch?v=ac xnmaVTlZA 584 https://www.youtube.com/watch?v=aL AAHs1ohxg

FW 387

387.18:6 throw darker hour [Though dark are our FW 387 http://www.musicanet.org/robokopp/ eire/thoughda.htm sorrows, the princess day sorrows {The Prince’s Day}] 387.18:6 throw darker hour {St. Patrick’s Day} FW 387 http://www.irishcentral.com/story/roo ts/emeraldextracts/videos-of-the-top-

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 226 ______

sorrows, the princess day ten-irish-songs-for-st-patricks-day- 116943453.html 387.19:3 when Fair Margrate waited {Fair Margaret and Sweet FW 387 http://en.wikipedia.org/wiki/Fair_Mar garet_and_Sweet_William Swede Villem William} https://www.youtube.com/watch?v=x QECanGoQnE 387.20:10 after the wreak of [The Wreck of the Hesperus FW 321, 387, 557 http://en.wikipedia.org/wiki/The_Wre ck_of_the_Hesperus Norman’s Noe {The Reef of Norman’s Woe}] 387.21:6 when my heart knew no {Old Black Joe} FW 95, 387 http://en.wikipedia.org/wiki/Old_Blac k_Joe care https://www.youtube.com/watch?v=H 6Tvq_0tkyw 387.32:11 The arzurian deeps o’er his {Ye Mariners of England} FW 387 http://www.bartleby.com/101/580.htm l humbodumbones sweeps. https://www.youtube.com/watch?v=QI cljlSeAWw 387.32:11 The arzurian deeps o’er his {Stars of the Summer Night} FW 387 http://pdmusic.org/1800s/40sotsn- chc.txt humbodumbones sweeps. https://www.youtube.com/watch?v=4 HY39SPhFbM

FW 388

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 227 ______

388.04:3 And mild aunt Liza {Liebestod} FW 017, 018, 040, 057, http://en.wikipedia.org/wiki/Liebestod

133, 304, 388, 398, 424 https://www.youtube.com/watch?v=_ mOA8pZ_I4M 388.29:2 howldmoutherhibbert {Old Mother Hubbard} FW 161, 388 http://en.wikipedia.org/wiki/Old_Mot her_Hubbard

https://www.youtube.com/watch?v=6c 4eARM7OOU

FW 389

389.11:3 for auld acquaintance sake {Auld Lang Syne FW 087, 096, 112, 238, http://en.wikipedia.org/wiki/Auld_La ng_Syne 305, 384, 386, 389, 390, 393, 397, 398, 406, 468, https://www.youtube.com/watch?v=ac xnmaVTlZA 584 https://www.youtube.com/watch?v=aL AAHs1ohxg 389.20:4 O weep for the hower [O! weep for the hour FW 389 http://www.musicanet.org/robokopp/ eire/eveleens.htm when eve aleaves bower! {Eveleen’s Bower}] 389.25:12 in his Roman Catholic {The Foggy, Foggy Dew} FW 389, 454 http://en.wikipedia.org/wiki/Foggy_D ew arms, while his https://www.youtube.com/watch?v=tz deepseepeepers gazed and yteR2_nOU

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 228 ______

sazed and dazecrazemazed 389.33:5 four of us {One More Drink for the Four FW 057, 063, 080, 094, Of Us} 214, 377, 384, 385, 387, 389, 555

FW 390

390.07:2 Skelly, with the lether {Kelly, with the Leather FW 390 belly Belly} 390.13:3 Tom Tim Tarpey, the {Taffy was a Welshman} FW 010, 014, 222, 323, http://en.wikipedia.org/wiki/Taffy_wa s_a_Welshman Welshman 390, 433 https://www.youtube.com/watch?v=N Cvmy7ZudqA 390.21:1 and never brought to mind {Auld Lang Syne} FW 087, 096, 112, 238, http://en.wikipedia.org/wiki/Auld_La ng_Syne [. . .] and be forgot 305, 384, 386, 389, 390, 393, 397, 398, 406, 468, https://www.youtube.com/watch?v=ac xnmaVTlZA 584 https://www.youtube.com/watch?v=aL AAHs1ohxg 390.24:4 their old pilgrim [Sing, sing, music was given FW 390, 485, 500, 500, http://www.musicanet.org/robokopp/ eire/singsing.htm cocklesong or they were {The Humors of 500, 500, 500, 500, 501,

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 229 ______

singing through the Ballamaguiry}] 501 wettest indies As I was going to Burrymecarrot 390.24:4 their old pilgrim {Ophelia’s song} FW 023, 041, 081, 085, http://www.bartleby.com/40/98.html

cocklesong 242, 243, 390, 482 https://www.youtube.com/watch?v=M l-aYNDQ05Y 390.25:6 As I was going to {As I was going to St. Ives} FW 012, 102, 147, 215, http://en.wikipedia.org/wiki/As_I_was _going_to_St_Ives Burrymecarrot 252, 291, 330, 390, 523, 552, 614 https://www.youtube.com/watch?v=M Lb2KDAITlI

390.25:6 As I was going to {Ballynure Ballad} FW 390, 404, 445 http://mudcat.org/@displaysong.cfm?S ongID=4 Burrymecarrot https://www.youtube.com/watch?v=9g --bDePirA

FW 391

391.15:9 ally croaker [. . .] [Through Erin’s Isle {Oh! the FW 391 http://www.poemhunter.com/poem/o h-the-shamrock/ through Herrinsilde Shamrock}] 391.15:9 ally croaker [. . .] [Through Erin’s Isle {Ally FW 391 http://www.contemplator.com/england /croaker.html Croaker}]

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 230 ______

through Herrinsilde

FW 392

392.27:4 in the oxsight of Iren {The Exile of Erin} FW 127, 148-149, 168, http://www.traditionalmusic.co.uk/son gster/32-the-exile-of- 392 erin.htm#.UX0hLrXIvQo

https://www.youtube.com/watch?v=UI gBZTe3E6g 392.27:4 in the oxsight of Iren [Though the last glimpse of FW 130, 130, 392, 394, http://www.irishmusicforever.com/tho ugh-the-last-glimpse-of-erin-with- Erin with sorrow I see {The 408, 447 sorrow-poem Coolin}] http://www.youtube.com/watch?v=TF u2mggRpiU

FW 393

393.09:6 where first I met thee [When first I met her, warm FW 393 http://www.musicanet.org/robokopp/ eire/whenfirs.htm oldpoetryck flied from and young {Patrick, fly from may me}] 393.27:13 Shandon bellbox {The Bells of Shandon} FW 139, 140-141, 257, http://www.bartleby.com/250/83.html

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 231 ______

393, 431, 445, 483, 557- https://www.youtube.com/watch?v=G TUv9UGKem8 558

FW 394

394.22:11 coolun dare [Though the last glimpse of FW 130, 130, 392, 394, http://www.irishmusicforever.com/tho ugh-the-last-glimpse-of-erin-with- Erin with sorrow I see {The 408, 447 sorrow-poem Coolin}] http://www.youtube.com/watch?v=TF u2mggRpiU 394.22:11 coolun dare {Coolin Das} FW 394, 493 http://www.poemhunter.com/poem/th ey-know-not-my-heart/ 394.34:1 Caller Errin! {Caller Herring} FW 136, 394 http://www.rampantscotland.com/son gs/blsongs_herring.htm

https://www.youtube.com/watch?v=oF tXrT5sxRk

FW 395

395.03:9 hacking away at a {Dashing Away with a FW 348, 395, 582 http://en.wikipedia.org/wiki/Dashing_ Away_with_the_Smoothing_Iron parchment pied Smoothing Iron} https://www.youtube.com/watch?v=JA B9Fml7YLc

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 232 ______

395.12-14 oben the dure [. . .] [She is far from the land FW 395 http://www.famousliteraryworks.com/ moore_she_is_far_from_the_land.htm sheets far from the lad {Open the door}] https://www.youtube.com/watch?v=rV f3vEZgQ4I 395.28:12 poot the porage {Pease porridge hot} FW 289, 395 http://en.wikipedia.org/wiki/Pease_Po rridge_Hot

https://www.youtube.com/watch?v=D pH4I5Vye3Q

FW 396

396.11:4 a firstclass pair of {Take a pair of sparkling FW 075, 396, 451, 462 http://www.leoslyrics.com/gilbert-and- sullivan/take-a-pair-of-sparkling-eyes- bedroom eyes eyes} lyrics/

https://www.youtube.com/watch?v=rv n9lIfQRZU

FW 397

397.05:1 girleen bawn asthore {The Colleen Bawn} FW 039, 101, 224, 384, http://en.wikipedia.org/wiki/The_Coll een_Bawn 385, 397, 438 https://www.youtube.com/watch?v=au xLF24uKeo

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 233 ______

397.05:9 planxty [. . .] O bunket [O banquet not in these FW 397 http://bob- blair.org/moore_irish_melodies_5.htm not Orwin! shining bowers {Planxty Irwine}] 397.12:3 murther magrees {Mother Machree} FW 092, 200, 397, 426, http://www.traditionalmusic.co.uk/folk -song-lyrics/Mother_Machree.htm 452, 542 https://www.youtube.com/watch?v=V G1Bem1ajtA 397.19:6 for a cup of kindest yet {Auld Lang Syne} FW 087, 096, 112, 238, http://en.wikipedia.org/wiki/Auld_La ng_Syne 305, 384, 386, 389, 390, 393, 397, 398, 406, 468, https://www.youtube.com/watch?v=ac xnmaVTlZA 584 https://www.youtube.com/watch?v=aL AAHs1ohxg

FW 398

398.10:4 death and the love {Liebestod} FW 017, 018, 040, 057, http://en.wikipedia.org/wiki/Liebestod

embrace 133, 304, 388, 398, 424 https://www.youtube.com/watch?v=_ mOA8pZ_I4M 398.12:6 homeysweet homely {Home, Sweet Home} FW 080, 138, 173, 358, http://en.wikipedia.org/wiki/Home!_S weet_Home! 398, 443, 465, 494, 533, 609 https://www.youtube.com/watch?v=7S BV1PeMfkY

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 234 ______

398.14:9 for auld acquaintances {Auld Lang Syne} FW 087, 096, 112, 238, http://en.wikipedia.org/wiki/Auld_La ng_Syne 305, 384, 386, 389, 390, 393, 397, 398, 406, 468, https://www.youtube.com/watch?v=ac xnmaVTlZA 584 https://www.youtube.com/watch?v=aL AAHs1ohxg 398.18:2 to Ladyseyes [To ladies’ eyes a round FW 398, 541 http://www.musicanet.org/robokopp/ eire/toladies.htm {Clear the way}] 398.21:9 thoh the dayses gone {O! the days are gone when FW 398, 462 http://www.musicanet.org/robokopp/ eire/ohtheday.htm beauty bright} https://www.youtube.com/watch?v=uo 5czCZp3JQ 398.21:9 thoh the dayses gone {The Day Is Done} FW 398 http://www.bartleby.com/102/65.html 398.21:9 thoh the dayses gone {When The Day Is Done} FW 398

398.21:9 thoh the dayses gone still {Love’s Old Sweet Song} FW 110, 161, 231, 398 http://en.wikipedia.org/wiki/Love's_O ld_Sweet_Song they loves young dreams http://www.incallander.co.uk/scottishs ongs/song28.htm

https://www.youtube.com/watch?v=r0 ROJEeZofo 398.22:4 loves young dreams [Love’s Young Dream {The FW 398, 462 http://www.litscape.com/author/Thom as_Moore/Loves_Young_Dream.html Old Woman}]

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 235 ______

https://www.youtube.com/watch?v=3c RxJ9CTq7s 398.26:8 auld luke syne [. . .] {Auld Lang Syne} FW 087, 096, 112, 238, http://en.wikipedia.org/wiki/Auld_La ng_Syne shanghai. 305, 384, 386, 389, 390, 393, 397, 398, 406, 468, https://www.youtube.com/watch?v=ac xnmaVTlZA 584 https://www.youtube.com/watch?v=aL AAHs1ohxg

FW 399

399.05:12 silverymonnblue {By the Light of the Silvery FW 201, 202, 385, 399 http://en.wikipedia.org/wiki/By_the_L ight_of_the_Silvery_Moon_(song) Moon} https://www.youtube.com/watch?v=og gq3LaE1iQ 399.13:5 window machree {Widow Machree} FW 092, 399, 456 http://www.traditionalmusic.co.uk/son gster/04-widow- machree.htm#.UXwOPbXIvQo

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 236 ______

Appendix One

Ole Vinding James Joyce in Copenhagen

1936

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 237 ______

James Joyce was the kind of person who, aging early, remains youthful long after youth has passed. Thus the years play with us, compensating somewhat for past injustices. He had a student’s body, long-limbed and skinny. He also had the long nape of a student but carried his head in the up-tilted way of the blind. His movements were boyish, his hands and feet very small, like those of a doll. But his face was aged and his sight that of a very old man. He saw the world, literally and tragically, only with half or quarter of an eye. His glasses had one lense of window-glass and one like a magnifying glass, the window-glass for the blind eye, the magnifying glass for the half-eye. He behaved with a carefree gaiety; yet something about that gaiety made one doubt that he ever enjoyed himself. One always had the feeling that he was perhaps not really paying attention to his surroundings. His work seemed to be gnawing at him inwardly. Joyce originally planned to stay three weeks in Copenhagen, but he could not last that long.1 After the first day his enthusiasm gradually decreased. The language, the food, everything was wrong. An old dream had failed to come true. For sixteen years he had been longing to come to Denmark2 and had become convinced that he had Danish blood in his veins—

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Viking blood. Nothing less would do, but how much of it is left today even in the natives? Did his realization that it was a minimum contribute to his dissatisfaction with his stay? He had begun to learn Danish when he was eighteen years old, and now in his fifty-fourth year he had to speak it. That was in September 1936. Since he would not permit journalists near him, I assumed an incognito, presenting myself as the painter Ole Vinkaer. I kept most of the letters from my real name, I did dabble a little in painting, and I love wine [Vinkaer means “wine lover” in Danish], so the truth wasn’t stretched too much. My idea was to offer to show Joyce the town and the area around it, to write down everything he said, and then, when his stay was over, to ask him for permission to publish the conversations. The ruse worked better than I expected, and for three days I accompanied Joyce and his wife Nora like a shadow, but by the fourth day I had had enough; in spite of my admiration for him, I found him exhausting. He sucked energy from his surroundings and was untiring in spite of his frailty and obvious physical weakness. His knowledge was broad, his questioning constant and of inquisitorial precision. Everything appeared to interest him, buttermilk, the soft “d” in the word “gud” (god), the difference between “a” and “o”—for instance in the sentence: “Toget holder i tagen” (The train stands in the fog) —the folk type in Denmark, Icelandic sweaters, etc. I was far from able to satisfy his endless curiosity. Constantly restless, his small body performed miracles of endurance. He wanted to go everywhere, on foot, by

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 239 ______tramway, as quickly as possible, as far as possible. He seldom used a car, partly because he wanted to see other people than his wife and me and partly because he was thrifty. Mrs Nora Joyce followed, patiently as a cow, without the slightest activity, as if her endurance depended upon her passivity. It was a long-standing arrangement and it had its cold fronts. She must have heard his stories thousands of times; his impulses never surprised her, and she ignored his periods of grumpiness. In this latter mood he answered everything with a “hm” and turned his head away just like the camel in Kipling’s story “How the Camel Got its Hump.” Occasionally she desired something for herself, for instance an Icelandic sweater, but she always was denied immediately. He bought it for himself, period! He had become accustomed to everything turning on him, and she passively indulged this habit. He was like a spoiled boy with his quiet, eternally permissive mother. We started our conversation in English, but it did not last more than five minutes before he suddenly said in clear Danish: “Take me out and show me the city, Mr Vinkaer!” My surprise over his ability pleased him, and he explained: “I taught myself Danish in order to read Ibsen in his own language, so all I can speak is Ibsen language, which is no longer spoken in his own country.3 I have not been able to master Norwegian spoken today, but with my Danish I have read both Ibsen and Gunnar Heiberg.4 Now I hope I can get enough practice while here to be able to speak fluently, really fluently. I have often wished to be able to do that, but I have never been

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 240 ______able to find travel companions. Now I have made the jump, and today I sent my son a wire in verse about my arrival. I re-wrote an old Irish immigration song, called ‘I Go Down to Philadelphia in the Morning’ [sic—in English], which he, as a singer, is fond of, and I put something about Copenhagen and Denmark into it as homage to Denmark.5 Ireland was originally Danish, and cities like Dublin and Cork owe their origin to Danish Vikings. No doubt I, also, have Danish blood in my veins! But I can’t figure out if the Danes are a dark or a light people. What do you think?” “That we are primarily light.” “In Ireland we speak about ‘dovegalls’ and ‘fingalls.’ The former were the dark, they were the Danes; the latter, the light, were the Norwegians. I don’t seem to see many light people here in town; would that be because there are so many foreign tourists? I can’t see the national type.” “Yes, but it is Sunday today and good weather, Mr Joyce, so the people are out of town.” “Good, it is perhaps also because it is Sunday that I saw only two ships in the harbour? That seems to me hardly enough for a sea-faring nation!” He chuckled. On our first trip we went down to Gammel Strand and through the Bibliotheksgarden. To get an impression of the places, Joyce constantly shaded his seeing eye with his hand. “So this is the old part of town? I wouldn’t mind living here,” he said. “My plan is to get a furnished apartment and stay here for a while.”

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In front of one shop hung some Icelandic sweaters that delighted the author of Ulysses. He bought one for himself. His wife also wanted one but he refused decisively: “No, and certainly not for George, whose elegant American wife has always been scornful of our simple, ‘primitive’ taste. But I shall have mine to write in during the winter. Must one wear a shirt underneath it?” After the purchase was wrapped Joyce said, “I’m not much interested in souvenirs, but I have a five-year-old grandson, and he certainly must have a toy as a reminder of H.C. Andersen. He is Denmark’s greatest writer; there’s no one like him in the world. No one will ever manage to tell stories for children as well as he did. He is unique.” A little later: “Do you often have thunderstorms here in Copenhagen and Denmark?” “The summer has been cool this year and thunderstorms have been rare.” “Thank god! I am horrified by thunderstorms. I panic just at the mere thought of them. You must not even tell me stories about thunderstorms if you have any. I think everything is nice here now. The air is wonderful, it is peaceful. I also believe Danish food will suit me very well, at least the bread is wonderful and the butter and the milk; that is already a lot. And the beer! I remember the name: Carlsberg. Hmmm, that doesn’t sound particularly Danish, does it?” Of course, during these conversations I had to avoid revealing any special interest in literature or Joyce’s work so that the idea of an interview would not occur to him. As far as possible I just answered his questions. The second day of their stay I left the couple

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 242 ______alone but met them again on Tuesday at 3:30 at the Tourist Hotel where they were staying. Mrs Joyce was in the same dress as on the first day, but Joyce had changed his thin, grey-striped suit and his even thinner chevrau-shoes for a suit of dark flannel and a pair of more sturdy walking shoes. He kept a worn-out raincoat over his shoulders. “Today we are going out to Frederiksberg!” he declared in Danish, almost without an accent. In the garden of the Garden Society he stated that he didn’t care for flowers but only grass and trees. Nevertheless, he was enthusiastic about the pretty beds in the little fairy-tale garden, which glowed in rich autumn colours. It began to rain and Joyce complained to his wife that she had not brought along an umbrella, to which she remarked that she found umbrellas comical. This led him to tell of a friend in Paris, a young nobleman from Cambodia,6 whose title gave him the right to carry no less than six umbrellas, one above the other, and whose father, the old nobleman, had the right to seven. “Umbrellas are not so comical,” he said, “but very distinguished implements, Nora.”7 Mrs Joyce did not listen at all but commented excitedly on the changing light. She could not recall having seen a more beautiful effect any place outside Denmark. This led the conversation to the art of painting, “my” area, and Joyce carried it on to his daughter: “She is a painter herself and has just illustrated a medieval poem by the monk Gregorius, which Geoffrey Chaucer translated. It is called ‘ABC’ because it has as many verses as there are letters in the alphabet, each verse beginning with its own letter.8 I hope

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 243 ______to receive a copy of the book soon. My friend Louis Gillet has written a charming foreword to it. When it comes I will show it to you.” This same French friend once said about Joyce: “He stands outside time—like a man cleaning his nails!”8 He must have felt as I did that Joyce really was never aware of his surroundings, or had only one will: a will that centred on Joyce and apparently reduced the world around him to something just to be used, something that served as nourishment, for example, but was not interesting in itself. Now enjoying the conversation, Joyce continued, “I know nothing of the mania for collecting. I have a couple of pictures by the Irish painter Yeats, and a perfect likeness of Georg Brandes, drawn by your country-man Ivan Opffer. He drew me also, but I don’t like it nearly as well.” I could insert here that Georg Brandes became very angry over Opffer’s drawing and that the drawing of Joyce was perfect, but neither of the two famous men apparently wanted to be perceived in Opffer’s way. However, at the time I did not say anything for fear of making “Mr. Vinkaer” appear too knowledgeable about famous men; furthermore, it was impossible to stop Joyce. “Do you know Augustus John?” he asked. “He is England’s greatest living painter, a Derain if you will. I have a funny story about Augustus John!” he said. “It is much too long, Jim,” interrupted Mrs. Joyce, but he waved her aside impatiently. “I’ll be brief, Nora!”

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He turned towards me: “John wanted to paint or draw me and had made an appointment with me in Paris. While he was working we were surprised by a press photographer. That is the only time in my life I gave in to the press. I did it only so as not to offend John. We were photographed and the picture appeared in the newspapers.9 A short time thereafter I was phoned by a Mr Nelson, whose accent wasn’t English at all. He turned out to be a Norwegian named Nilsson. We spoke Norwegian together so it was probably true. He said he was a friend of Augustus John and asked if I would come to dinner at his hotel. I went because I didn’t want to deny a friend of Augustus John. My host offered me champagne and expensive cigars in vain. I prefer to smoke the cheap ‘Voltiguer,’ and I never drink champagne, especially at a light lunch, not so much because I am temperate or virtuous as simply because I can’t stand it. My moderation saved me. The hotel porter arrived at my place a few days later and asked if I weren’t a school friend of Mr. Nelson. I denied that, but he did not believe me, and it now became clear that my friendly host was a hotel rat. He not only had borrowed from the hotel owner, the porter, and even the chamber maid, but also had stolen towels, bedclothes, and soap and had disappeared with all bills unpaid. He had left only two suitcases. They proved to be full of —potatoes! Isn’t that funny?” Joyce laughed and continued, “But it is still funnier that an honest man never can cheat his hotel of even a centime!” “Mr Nelson apparently took advantage of your name. Does that happen often?” “You mean blackmail?” “No, not that alone, but also regarding political questions, for example.”

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“It has been tried, both by the right and the left, but without success. I don’t want anything to do with politics.” “The example of Gide in France, though, shows that it can be difficult for a famous author to stand outside.” “Yes, unfortunately, but I have succeeded. By the way, I have a funny story about Gide. He has dallied with communism, of course, and one day a young man by the name of Armand Petitjean came to him. Let me add here that at the age of sixteen this M. Petitjean started writing a big volume about my book ‘Work in Progress,’ long before it was finished. Well, this enthusiastic admirer of mine went to Gide to ask him what they should do with me if communism won. Gide thought it over for some time and then answered: ‘We’ll let him be!’ “ Joyce chuckled, “Then I could feel relieved, if I ever had been worried. By the way, I love two of Gide’s books: La Symphonie Pastorale, which is a masterpiece, and Les Caves du Vatican, which is funny.” We walked up Frederiksberg hill; as soon as the rain stopped, Joyce wanted to go to the zoo. “You said Sunday that you weren’t welcome in Dublin. Is that for political reasons?” “No, it’s because of my books.” “Dubliners?” “Among others.”

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“Do you ever miss Ireland?” “I didn’t live there very long, but every day I get papers and other news from home. I am not sure I would care to go back. Ulysses is coming out this month in England;10 let us see how the Irish take it. Furthermore, I am afraid to go back to Ireland. You see, when one is almost blind and can’t see whom one is talking to, then one becomes suspicious. Recently an Irish friend asked me to join the Irish Academy,11 but they are just out after my name so I am not interested. The day they become interested in my work that will be another matter. But let us change the subject!” “What is wrong with your eyesight?” “I’ve had green starling, gray starling and all kinds of starlings.12 A very complicated case but I think it was originally caused by some kind of rheumatism in the eye.” “Your endurance is admirable; the poor eyesight must have delayed your work considerably.” “Yes, of course, and I can manage to read only what I need for my books, but of course I have read everything about Denmark I could get my hands on, even the text on the tramway tickets. And how sad it is to discover that after many years of trying I still can’t understand what people say around here. I can make myself understandable when I speak slowly, but I can’t understand what others say. I have read Danish since I was nineteen and have taken lessons everywhere I found Danes, in Danish churches, or homes for seamen, or in private homes. One man I studied with is still around; he was something

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 247 ______in a large department store, but I can’t remember his name. (Joyce’s Danish teacher proved to be Mr Max, owner of “Interior” in the Kanneworff Building.) To read Danish, to understand it, has been a passion with me. I was seventeen when Ibsen’s last drama When We Dead Awaken was published. I was still in school but immediately wrote a long article about it and sent it to the most prestigious journal in England, The Fortnightly Review, which to my surprise accepted it.13 I was even more surprised when, one day while sitting in the swing in the garden, I was brought a letter from Ibsen (Letters II 7). It wasn’t written with his own hand but by his translator William Archer, but still! The master thanked me and I threw myself into Danish.” “Did you have further contacts with Ibsen?” “For his birthday I wrote him a letter which must have made him fall under the table with laughter—it was in Swedish! My Swedish!15 But the article was my literary debut—I started at the top!” “Do you still admire him as much now as you did then?” “Yes, he towers head and shoulders above everyone else, even Shakespeare. Ibsen will not become dated; he will renew himself for every generation because his problems always will be seen from a new side as time goes on. He has been called a feminist in Hedda Gabler, but he is no more a feminist than I am an archbishop. “He is the greatest dramatist I know. No one can construct a piece as he can. There is not an extraneous word in his work. It was wonderful to see what Lugné-Poë did as Old Ekdal in The Wild Duck, with Ludmilla Piteoff, a little fifty-year-old woman with ten

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 248 ______or fifteen children, playing Hedvig. I am sorry that I never have seen Little Eyolf. The first act is a pure wonder. By the way, are there any famous actors in Denmark?” “The most famous abroad is Mr. Poul Reumert.” “Yes, I saw him play ‘Tartuffe’ in Paris and perform in another piece, Galgemanden16 I believe it was called. That’s a scary play.” “Do you like the plays of O’Neill?” “I have seen only a few of them.” We reached the zoo, and Joyce declared that he didn’t care much for the animals; only cats and goats appealed to him. But in front of the cage of the Siberian tiger he remarked comically: “That is a terrible, restless animal, and look how petty his face is. The lion is much more majestic!” The goats entertained him highly with their pranks; through association with the pictures of antelopes in Hemingway’s Green Hills of Africa, Joyce said: “We were together with Hemingway just before he left for Africa; he promised us a living lion, but fortunately we escaped that. We would rather have his book. He writes well, he writes as he is, we like him. He is large and wonderful and robust like a buffalo, athletic, created to live the life that he describes and that he could not describe without his physique, but such giants as he are bashful. Beneath the surface, Hemingway is more intensely ‘Hemingway’ than has been assumed.”17 On Thursday the joy over Denmark had decreased. Joyce and his wife were

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 249 ______disappointed over the food, which was served in too large quantities to appear aesthetic, and they felt the service was the worst of any place in Europe. It surprised Joyce that we, who have good fish, good milk, good butter and bread, could not come up with anything but an unappetizing mish-mash. The language gave him trouble and irritated him more and more. He was grumpy and turned his head like Kipling’s camel and said “hm” to almost everything. However, he had not yet completely given up the plans about coming again and living in a furnished apartment. In a landau we drove that day past the Hermitage [an old hunting castle, now a tourist attraction], which he did not care for, and on to Lyngby to see a working farm, which interested him greatly. In the Frilandsmuseum [an open air museum of old buildings from various parts of Denmark], he signed the guest book and looked around absent-mindedly while talking all the time about Italy: “For many years we lived in Trieste, where both my children were born. At home we speak mostly in Italian.” “What do you think about d’Annunzio?” “Magnificent.”18 “And about Italy, now?” “I love it, now as ever! Not to love it because of Mussolini would be as absurd as hating England because of Henry the Eighth.” “Is the edition of Ulysses which is now coming out in England just a new printing?” “No, the first printing in England. The real first printing came in Paris. I wonder

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 250 ______how it is going; the publisher must take all the risk. I insist that every little line must be included. I’ve done the same at Martin’s Publishing Company.19 If they do not obey that rule, everything is off. Tonight I shall look at the galleys.” After that the conversation switched to language and the art of singing. He did not care for Stravinsky or for contemporary music in general. Mrs. Joyce wanted a cup of tea but was categorically denied. Joyce had had buttermilk in Lyngby and was satisfied with that. The following Saturday was our last meeting. He finally spoke about his new work: “I haven’t lived a normal life since 1922, when I began ‘Work in Progress.’ It demands an enormous amount of concentration. I want to describe the night itself. Ulysses is related to this book as the day is to the night. Otherwise there is no connection between the two books. Ulysses did not require the same amount of concentration. Since 1922 my book has become more real to me than reality, and everything has led to it; all other things have been insurmountable difficulties, even the smallest realities such as, for instance, to shave in the morning. There are, so to say, no individual people in the book – it is as in a dream, the style gliding and unreal as is the way in dreams. If one were to speak of a person in the book, it would have to be of an old man, but even his relationship to reality is doubtful. Now I will soon be through with it; about one-fourth remains to be written, but that will go faster now. The book has already had a strange fate, a fate which I would say corresponds to the nature of the book. Fragments of it have appeared in transition, an English journal published in Paris, and in La Nouvelle Revue Francaise. The

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 251 ______small piece [the French version of Anna Livia Plurabelle] which appeared in the latter took three months to translate, and I even had five helpers for it. That was hard work. If Ulysses should be published by Martin’s, which has asked first and therefore has priority, they must have more than one man for the job, but I am a little worried. The representative for the publisher told me that Jack London was the most popular author in Denmark. I haven’t anything against him, but I dare say we are rather different!” “Is ‘Work in Progress’ constantly going forward?” “Yes, still in progress, but slowly because of my sight.” “Are you writing while you are here?” “I am always writing.” He smiled, “It pleases me very much.” “Why is the new, unfinished book so intensely commented on already?” “Yes, you may well ask that question. It is a mystery to me, too.20 My book has been judged and conclusions drawn from it long before I have finished with it or drawn any conclusions myself.” “You write rather slowly, don’t you?” “Yes, extremely slowly.” “You must be rich in order to allow yourself that?” “Rich? Me?” He laughed. “Why in the world do you believe that?” “Because you take your time and because you must know in advance that your work is written for a minority—without any guarantee or support from the snobs.”

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“Yes, I was aware of that from the beginning, but it went along anyway. Yes, you are probably right, it was probably something of a miracle that it could be done. It is strange that doesn’t even occur to one at the time. One works and will finish what one has set out to do.” “Where did you write Ulysses?” “In Trieste, Zürich, and Paris.” We sat down for a glass of buttermilk at “Josty,” and Joyce wanted to tell about the hell he always raised at parties. He said he had invented his own dance, and Mrs. Joyce remarked dryly: “If you can call flinging your legs over your neck and kicking the furniture to pieces’to dance’!” “Well, Nora, I do dance! I know the rules of dancing and request that the floor be cleared—that’s the least I can do. I once went to a New Year’s party with some friends and won first prize for my costume of a beggar, a real clochard. I dressed up in a diplomat’s coat that was old and way too short; underneath I wore a blue shirt and, naturally, I wore yellow gloves. In this getup, I was introduced to a very solemn young man. He greeted me somewhat ceremoniously, but I was in the middle of a dance, so I cut a little caper and answered hastily, ‘enchanté’, whereupon I forgot the new acquaintance, whose name I didn’t even catch. That was M. Armand Petitjean, my energetic commentator! He was the oldest in the party, age-old. The hostess wasn’t particularly happy with my behavior and the next day called on the old-young man to hear what impression I had made on him. He answered laconically: ‘Yes, as usual, Mr. Joyce had

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 253 ______more interest in the expression than in the impression!’ “ “After I have worked all day, the thought of eating at home becomes unbearable. I want to see people, I want to get away from the work and loaf with a ‘Voltiguer’! For the same reason I abhor literature after dinner; I must escape my work. I eat out, smoke my ‘Voltiguer,’ look at people and what else? Why in the world should I take a position on deep literary and philosophical questions? Why should I decide if this or that author is great or small? I become a convinced materialist, and only in that way can the night be separated from the day; the exertion of the work is forgotten for a time. One is free. It is wonderful to let go, to chat away without reservations and say all the stupid things one wants to!” He sat for a while and then added: “There is also the other miracle that I still can see at all. Six years ago I was completely blind,21 but a Swiss surgeon has brought back a little of my sight in the left eye, just enough so I can see to write when I put an extra magnifying glass on. It is not known if the other can be saved by an operation; the operation is considered very risky.” “Can’t you dictate?” “No, impossible.” “Is it the style of your books which makes it impossible?” “I can only write alone, more and more alone. It has developed that way, like my style, which has developed and changed so that what I write simply cannot be expressed in any other way than like dream talk. With day-time talk, such as I used in my youth, I

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 254 ______would not achieve anything.” And this fourth meeting became the last. When he had left I sent him a telegram asking permission to publish what I had written in my notebook while he was here, and received a refusal. To the regret of my editor I obeyed and turned a deaf ear to his eternal quote from the megalomaniac Lord Northcliffe, “Everything counts, nothing matters!”

NOTES

1. Joyce departed for Copenhagen on 18 August, and on 13 September wrote to Budgen, “Just back from Denmark” (II 703 and Letters III 388). Even allowing for several days’ layover on the way to and from Denmark, he would have had a full three weeks there. 2. Actually for longer than that. In 1906 he wrote his brother from Rome, “I wish I could go to Denmark.” At the time he was taking his first lessons in Danish and also reading Ferrero’s Young Europe, where he found Stockholm, Abo, and Copenhagen identified as “the finest cities in Europe” (Letters III 201). In 1927 he told Michael Healy, “I would like to go to Denmark but it’s a long, long way to Copenhagen and the fare’s right dear” (Letters 1257). Eight years later he wrote to Giorgio, “I yearn to go to Denmark because the Danes massacred so many of my ancestors,” but a plan to make the trip then fell through, to his great disappointment (Letters III 359 and I 373).

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3. A nationalist movement early in the century led to radical changes in spoken Norwegian. 4. Heiberg (1857-1929) was a Norwegian dramatist, author of Aunt Ulrikke (1884), King Midas (1890), The Balcony (1894), and The Tragedy of Love (1904). 5. This wire apparently has not survived. The Percy French song “Off to Philadelphia in the Morning” is alluded to a number of times in Finnegans Wake. 6. In a letter to Lucia, Joyce reminded her of Prince Norindett Norodum Doum Doum, who was “entitled to hoist seven umbrellas over his bald head because he is of kingly race” (Letters I 382). This prince, whose name Herbert Gorman gives as Norrindett- Norrodun, accompanied Joyce on several trips outside Paris to hear John Sullivan sing. He also had a royal cousin in Paris who had changed his name to René Ulysse in honor of Joyce’s book and who “used to send his visiting card under his new style to his adopted literary father [i.e. Joyce] on the first day of every Annamite year” (James Joyce [1940; rpt. New York: Octagon Books, 1974], p. 326). 7. Bloom also had trouble getting Molly to carry an umbrella (U687). 8. Lucia had a talent for drawing small illuminated letters or “lettrines.” In one of many attempts at helping his unfortunate daughter, Joyce arranged the publication of an edition of Chaucer’s ABC, illustrated with her letters (see especially Letters III 266 and 385). The edition appeared after many delays and difficulties in July 1936 on Lucia’s twenty-ninth birthday. The ABC is a translation of a prayer by the French monk Guillaume Deguillerville.

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9. This echoes Stephen Dedalus’ remark, “The artist, like the God of creation, remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails” (P215). 10. This picture can be seen in Letters III, following p. 224. 11. This edition of Ulysses by John Lane/The Bodley Head appeared on 3 October 1936, marking the end to a long series of negotiations and delays over the book’s publication in England. 12. The friend was William Butler Yeats. For the invitation see Letters 1325, and for Joyce’s reply, Letters III 258-59. 13. In Danish the terms for glaucoma and cataract are “gron stær” and “grà stær.” “Stær” also means “starling.” 14. Joyce’s article on When We Dead Awaken, “Ibsen’s New Drama” (CW 48-67), appeared on 1 April 1900. 15. This letter (Letters 151-52) would have been written in Danish. 16. The Gallows Men by the Finno-Swedish writer Runar Schildt (1888-1925). 17. In Green Hills of Africa (New York: Charles Scribner’s Sons, 1935), p. 71, Hemingway mentions his evening with the Joyces prior to leaving for Africa. There are other evidences of Joyce’s regard for Hemingway, beside his remarks to Vinding. He encouraged Nino Frank to publish some of Hemingway’s work (Memoire Brisée [Paris: Caiman-Levy, 1963], p. 34). And Arthur Power recalls him saying of Hemingway, “He has reduced the veil between literature and life, which is what every writer strives to do

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… [“A Clean Well Lighted Place”] is masterly … It is one of the best short stories ever written; there is bite there” (Conversations with James Joyce [London: Millington, 1974], p. 107). 18. In the typescript this reads, “He was a magnificent poet.” As a young man Joyce admired d’Annunzio nearly as much as he did Ibsen (see JJ 60-61). 19. Joyce had heard that Mrs Kastor Hansen was going to translate the book. According to Tom Kristensen, who accompanied him to Martin’s, he walked up to Mrs Kastor Hansen and said, “I am James Joyce. I understand that you are to translate Ulysses, and I have come from Paris to tell you not to alter a single word” (JJ 705). Mrs Kastor Hansen turned out to be too busy to undertake the job. Martin’s finally published a translation of Ulysses in 1949. 20. Joyce could hardly have been mystified at the many articles on Finnegans Wake since he personally encouraged and directed a number of them, but he preferred to keep his part in this critical activity to himself. 21. More accurately, he was in danger of being completely blind. The Swiss surgeon referred to later in the sentence is Alfred Vogt.

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C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 259 ______

Appendix Two

Roman Jakobson

Coup d’oeil sur le développement de la sémiotique

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1. Emile Benveniste que je viens de voir à Paris m’a prié de transmettre au Premier Congrès de l’Association Internationale de Sémiotique ses souhaits de réussite, et c’est à la belle étude de notre illustre confrère “Coup d’oeil sur le développement de la linguistique” (1963) que j’emprunte l’en-tête de mon exposé. Benveniste commence “par observer que la linguistique a un double objet, elle est science du langage et science de langues. (. . .) C’est des langues que s’occupe le linguiste, et la linguistique est d’abord la théorie des langues. Mais (. . .) les problèmes infiniment divers des langues ont ceci de commun qu’à un certain degré de généralité ils mettent toujours en question le langage: il s’agit du langage en tant qu’invariant universel par rapport aux langues locales, variées et variables dans le temps et dans l’espace. Dans le même ordre d’idées la sémiotique est appelée à étudier les divers systèmes de signes et à mettre en valeur le problème qui se dégage d’une comparaison méthodique de ces systèmes, c’est à dire le problème général du signe: signe comme notion générique par rapport aux classes particulières des signes.

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La question du signe et des signes fut abordée à plusieurs reprises par les penseurs de l’Antiquité, du Moyen Age et de la Renaissance. Vers la fin du dix-septième siècle le célèbre Essay de John Locke, dans le chapitre final consacré à la division tripartite des sciences, promut ce problème complexe au rang de la dernière des “three great provinces of the intellectual world” et proposa de l’appeler “σημειωτική or, the ‘doctrine of signs,’ the most usual whereof being words”, étant donné que “to communicate our thoughts to one another, as well as record them for our own use, signs of our ideas are also necessary. Those which men have found most convenient, and therefore generally make use of, are articulate sounds” (Livre IV, Chap. XXI, Section IV). C’est aux mots, conçus comme “les grands instruments de la cognition”, à leur emploi et à leur relation avec les idées que Locke consacre le troisième livre de son Essay Concerning Human Understanding.

2. Dès le début de ses activités scientifiques, Jean-Henri Lambert prit connaissance de l’Essay et au cours de son travail sur le Neues Organon, qui occupe une place de choix dans le développement de la pensée phénoménologique, il se vit profondement influencé par les idées de Locke, tout en gardant une position critique vis-à-vis de la doctrine sensualiste du philosophe anglais (cf. Eisenring 1942: 7, 12, 48 sq., 82). Chacun de ses deux volumes du Neues Organon se divise en deux parties et parmi ces quatre parties, la troisième – Semiotik oder Lehre von der Bezeichnung des Gedanken und Dinge, suivie par la Phänomenologie (pp. 3- 214) – doit à la thèse de Locke (voir ci-dessus) le terme ‘sémiotique’ ainsi que le thème de la recherche: “die Untersuchung der Notwendigkeit der symbolischen Erkenntnis überhaupt,

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 262 ______und der Sprache besonders” (§ 6), étant donné que cette reconnaissance symbolique “uns ein unentbehrliches Hülfsmittel zum Denken ist” (§ 12). Dans la préface à son oeuvre, Lambert nous avertit qu’il s’occupe de la langue dans neuf chapitres de la Semiotik (2-10) mais n’accorde qu’un seul chapitre aux autres espèces de signes, “da die Sprache nicht nur an sich notwendig, und ungemein weitlaufig ist, sondern bei jeden andern Arten von Zeichen enbenfalls vorkommt.” L’auteur désire se consacrer à la langue, “um ihre Struktur näher kennen zu lernen” (§ 70) et pour aborder “die allgemeine Sprachlehre, Grammatica universalis, welche man (. . .) noch erst sucht.” Il rappelle instamment “dass in unseren Sprachen das Willkürliche, Natürliche und Notwendige mit einander vermengt ist. Die allgemeine Sprachlehre müsste nun vornehmlich das Natürliche und Notwendige in der Sprache zum Gegenstande nehmen, und das Willkürliche, so viel immer möglich ist, teils wegschaffen, theils mit dem Natürlichen und Notwendigen in engere Verbindung setzen” (§ 71). D’après Lambert, la différence entre ces trois éléments qu’on trouve dans les signes révèle un rapport étroit avec le fait décisif “dass die ersten Ursachen der Sprache an sich schon in der menschlichen Natur sind”, et par conséquent ce problème exige un examen méticuleux (§ 3). Le problème de l’algèbre et des autres systèmes des langues artificielles de la science par rapport au langage ordinaire (wirkliche Sprachen) est traité chez Lambert (§ 56 sqq.) comme une sorte de traduction (“gedoppelte Uebersetzung”). Le livre étudie la différence dans l’emploi des signes naturels et arbitraires (§ 47, 48) et ce sont les signes naturels des affects (natürliche Zeichen von Affekten) qui attirent en

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 263 ______premier lieu son attention (§ 19). Lambert tient compte du rôle significatif que jouent par exemple les gestes, “um den Begriff, der dunkel in der Seele ist, (. . .) aufzuklären, oder wenigstens, uns selbstoder andern anzudeuten” (§ 7), et il entrevoit la portée sémiotique des simulacres’ (qui réapparaissent au bout d’un siècle dans la liste de Peirce sous l’étiquette des icons or likenesses: 1,558). Lambert soulève la question des signes dont la structure interne se fonde sur des rapports de similarité (Aehnlichkeiten) et en interprétant les signes d’ordre métaphorique, il évoque les effets de la synesthésie (§ 18). Malgré le caractère sommaire des remarques sur la communication non-verbale, ni la musique, ni la chorégraphie, ni le blason, ni les emblèmes, ni les cérémonies n’échappent à l’attention du chercheur. Les transformations des signes (Verwandlungen) et les règles de leur combinaison (Verbindungskunst der Zeichen) sont mises à l’ordre du jour.

3. C’est grâce à l’initiative créatrice de Locke et de Lambert que l’idée et le nom de la sémiotique réapparaissent au début du dix-neuvième siècle. Dans ses premières années, le jeune Joseph-Marie Hoene-Wroński, familiarisé avec l’oeuvre de Locke, esquissa parmi quelques autres essais spéculatifs une Philosophie du langage qui ne fut publiée qu’en 1879. L’auteur, que son adepte J. Braun (1969) rapproche de la phénoménologie husserlienne et qu’il croit avoir été “le plus grand des penseurs polonais”, examine “la faculté de signation (facultas signatrix)”. La nature des signes (voir p. 38) doit être étudiée premièrement par rapport aux catégories d’existence, c’est à dire la modalité (signes propres/impropres) et la qualité (signes déterminés/indéterminés), et, deuxièmement, par rapport aux catégories de

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 264 ______production, c’est à dire la quantité (signes simples/composés), la relation (signes naturels/artificiels) et l’union (signes médiats/immédiats). Suivant le programme de Hoene-Wroński, c’est la “perfection des signes” (perfection of language dans les termes de Locke, Volikommenheit der Zeichen d’après Lambert) qui forme “L’objet de la Séméiotique” (p. 41)’ Notons que cette théorie réduit le domaine de la ‘signation’ aux actes de la cognition: “Cette signation est possible, soit pour la forme sensible, soit pour le contenu, sensible ou intelligible, des objets de notre savoir”, tandis que la “signation des actes de la volonté et des sentiments” parait être “impossible” (p. 38 sq.).

4. Le philosophe pragois Bernard Bolzano réserve dans son oeuvre capitale, Wissenschaftslehre (1837), et surtout dans les deux derniers des quatre volumes, une large place à la sémiotique. L’auteur cite fréquemment l’Essay de Locke et le Neues Organon et découvre dans les écrits de Lambert “über die Semiotik (. . .) viele, sehr schätzenswerthe Bemerkungen”, bien qu’ils soient peu utilisables “pour le développement des règles les plus générales du discours scientifique”, l’un des buts que se propose Bolzano (§ 698). Le même chapitre de la Wissenschaftslehre figure sous deux titres dont l’un ― “Semiotik” – apparait dans la table des matières (IV, p. XVI) et l’autre ― “Zeichenlehre” ― marque le début du texte (p. 500); le § 637 qui suit identifie les deux désignations. “Zeichenlehre oder Semiotik”. Si dans ce chapitre et dans quelques autres parties de l’oeuvre l’attention de l’auteur est fixée avant tout sur l’épreuve de la perfection relative des signes (Vollkommenheit oder Zweckmassigkett) et particulièrement des signes desservant

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 265 ______la pensée logique, c’est déjà au début du troisième volume que Bolzano cherche à introduire le lecteur aux notions fondamentales de la théorie des signes, tout au long du § 285 (pp. 67-84) qui regorge d’idées et s’intitule “Bezeichnung unserer Vorstellungen”. Ce paragraphe commence par une définition bilatérale du signe: “Ein Gegenstand, (. . .) durch dessen Vorstellung wir eine andere in einem denkenden Wesen mit ihr verknüpfte Vorstellung erneuert wissen wollen, heisst uns ein Zeichen.” Suit toute une chaîne de concepts géminés, dont les uns sont très neufs et les autres, tout en remontant aux sources antérieures, se trouvent à nouveau précisés et approfondis. Ainsi les réflexions sémiotiques de Bolzano font ressortir la différence entre l’acception (Bedeutung) d’un signe tel quel et le sens (Sinn) que ce signe reçoit dans le contexte de la circonstance présente, puis la différence entre le signe (1) produit par le destinateur (Urheber) et (2) perçu par le destinataire qui, lui, oscille entre la compréhension et le malentendu (Verstehen et Missverstehen). L’auteur fait une distinction entre l’interprétation pensée ou exprimée du signe (gedachte und sprachliche Auslegung), entre signes universels et particuliers, entre signes naturels et accidentels (natürlich und zufällig), arbitraires et spontanés (willkürlich und unwillkürlich), auditifs et visuels (hörbar und sichtbar), simples (einzeln) et composés (zusammengesetzt, ce qui veut dire “ein Ganzes, dessen Theile selbst Zeichen sind”), entre signes univoques et polysémiques, primaires et dérivés, fixes et imprécis, propres et figurés, métonymiques et métaphoriques, médiats et immédiats, et à ce classement il ajoute des notes lucides sur l’importante distinction à faire entre les signes (Zeichen) et les indices (Kennzeichen), dépourvus de destinateur, ou enfin sur un autre thème pressant: la question

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 266 ______du rapport entre la communication inter-personnelle (an Andere) et interne (Sprechen mit sich selbst).

5. L’étude du jeune Edmund Husserl, “Zur Logik der Zeichen (Semiotik)”, écrite en 1890, mais restée inédite jusqu’en 1970, est une tentative pour classer les catégories des signes et de répondre à la question de savoir dans quel sens la langue, c’est-à-dire le plus important des systèmes de signes que nous possédons, “das Denken fördert und andererseits wiederum hemmt” (1970 b). La critique des signes et leur perfectionnement sont conçus comme une tâche urgente qui confronte la logique: “Die tiefere Einsicht in das Wesen der Zeichen und Zeichenkünste wird sie vielmehr befähigen, auch solche symbolische Verfahrensweisen, auf die der menschliche Geist noch nicht verfallen ist, zu ersinnen brw. die Regeln für deren Erfindung festzusetzen” (p. 373). Le manuscrit de 1890 est pourvu d’une référence au chapitre “Semiotik” de la Wissenschaftslehre, qualifié de ‘wichtig’ (p. 530); dans la double visée de son essai, structurale d’une part et régulatrice de l’autre, Husserl suit effectivement l’exemple de Bolzano qu’il nommera plus tard l’un des plus grands logiciens “aller Zeiten”. Aussi dans les pensées sémiotiques des Logische Untersuchungen retrouve-t-on, selon l’aveu du phénoménologue, “entscheinende Anstösse von Bolzano”, et le second volume de ces Recherches avec son traité capital de sémiotique générale érigée en système exerça une profonde influence sur les débuts de la linguistique structurale. Comme nous l’indique Elmar Holenstein, Husserl a fait plusieurs notes en marge du § 386 dans son exemplaire de la Wissenschaftslehre, III de Bolzano et il a souligné le terme

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‘sémiotique’ et sa définition dans la traduction allemande de l’Essay de Locke ― Über den menschlichen Verstand (Leipzig, 1897).

6. Pour Charles Sanders Peirce (1839-1914) ‘la nature des signes’ est toujours restée le thème d’études favori depuis l’année 1863 (cf. V, 488, et VIII, 376) et surtout depuis sa magnifique profession de foi ― “On a new list of categories” ― publiée en 1867 par l’Académie Américaine des Arts et Sciences (I, 545-559) et suivie de deux contributions ingénieuses au Journal of Speculative Philosophy de l’année suivante (V, 213-317) et jusqu’aux matériaux réunis en 1909-1910 pour son volume inachevé Essays on Meaning (II, 230-232; VIII, 300; Lieb, 40). On notera qu’à travers toute la vie du savant, la conception qui sous- tend ses efforts continus pour établir la science des signes gagne en profondeur et en largeur et garde en même temps son caractère ferme et intègre. Quant au terme ‘semiotic’, ‘semeiotic’ ou ‘semeotic’ il ne surgit dans les manuscrits de Peirce qu’à la limite des deux siècles: c’est à cette époque que la théorie “of the essential nature and fundamental varieties of possible semiosis” saisit de plus en plus le grand chercheur (I, 444; V, 488). Son insertion de la graphie grecque σημειωτική ainsi que la définition succincte ― “doctrine of signs” (II, § 227) ― nous met sur la piste de Locke, dont le “celebrated Essay” fut souvent évoqué et cité par le partisan de la doctrine. Malgré la merveilleuse profusion des trouvailles originales dans la sémiotique de Peirce, celui-ci reste néanmoins nettement lié avec les précurseurs ― Lambert, “the greatest formal logician of those days” (II, § 346), dont il cite le Neues Organon (IV, 353), et Bolzano qu’il connaît par sa “contribution de

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 268 ______valeur à la clarté des conceptions humaines” et par son “ouvrage de logique en quatre volumes” (IV, 651). Cependant c’est à bon droit que Peirce a déclaré: “I am, as far as I know, a pioneer, or rather a backwoodsman, in the work of clearing and opening up what I call semiotic, (. . .) and I find the field too vast, the labor too great, for a first-comer” (V, 488). C’est lui, “le plus inventif et le plus universel parmi les penseurs américains” (cf. Jakobson 1965: 346), qui a su tirer les arguments concluants et déblayer le terrain afin de dresser à ses risques et périls la charpente de la science anticipée et entrevue par la pensée philosophique européenne de deux siècles. L’édifice sémiotique de Peirce englobe toute la multiplicité des phénomènes significatis, fût-ce un coup à la porte, une empreinte de pas, un cri spontané, un tableau ou une pièce de musique, un entretien, une méditation silencieuse, un écrit, un syllogisme, une équation algébrique, un diagramme géométrique, une girouette ou un simple signet. L’étude comparée des divers systèmes de signes poursuivie par le chercheur a révélé des convergences et des divergences foncières mais jusqu’alors inaperçues. Les oeuvres de Peirce font preuve d’une perspicacité particulière quand il traite le caractère catégoriel de la langue dans l’aspect phonique, grammatical et lexical des mots aussi bien que dans leur arrangement à l’intérieur des propositions et dans l’agencement de ces dernières par rapport à l’énoncé. En même temps, l’auteur se rend compte que ses études “must extend over the whole of general Semeiotic”, et met en garde son interlocutrice épistolaire, Lady Welby: “Perhaps you are in danger of falling into some error in consequence of limiting

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 269 ______your studies so much to Language” (Lieb 1953: 39). Malheureusement la plupart des écrits sémiotiques de Peirce ne furent publiés qu’au cours de la troisième décennie de notre siècle, c’est-à-dire environ deux dizaines d’années après la mort de l’auteur. Et il a fallu près d’un siècle pour qu’on imprime certains de ses textes; ainsi le fragment stupéfiant d’un cours donné par Peirce en 1866-1867 ― “Consciousness and language” ― ne parut qu’en 1958 (VII, 579-596); signalons en outre qu’il reste encore de larges pans inédits dans l’héritage de Peirce. L’apparition tardive de ses travaux, fragmentés et dispersés dans le dédale des huit volumes des Collected Papers of Charles Sanders Peirce, entrava pour longtemps la compréhension exacte et complète de ses préceptes et, malheureusement, retarda leur influence efficace sur la science du langage et le développement harmonieux de la sémiotique. Les lectures et commentateurs de ces ouvrages se sont souvent mépris même sur les termes fondamentaux introduits par Peirce bien que ceux-ci soient indispensables pour comprendre sa théorie des signes et que ces termes, même s’ils sont parfois forcés, reçoivent néanmoins une définition toujours nette dans le texte de l’auteur. Ainsi les désignations interpreter et interpretant ont donné lieu à des confusions fâcheuses en dépit de la distinction faite par Peirce entre le terme interpreter qui désigne le récepteur et décodeur du message, et interpretant, c’est à dire le clef dont se sert le récepteur du message pour le comprendre. Selon les vulgarisateurs, le seul rôle attribué à l’ interpretant dans la doctrine de Peirce consiste à mettre au clair chaque signe lar l’intermédiaire de son contexte, tandis qu’en fait le vaillant ‘défricheur’ de la sémiotique demande au contraire “to distinguish, in

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 270 ______the first place, the Immediate Interpretant, which is the interpretant as it is revealed in the right understanding of the Sign itself, and is ordinarly called the meaning of the sign”(IV, 536). Autrement dit, c’est “tout ce qu’il y a d’explicite dans le signe lui-même, abstraction faite de son contexte et des circonstances de l’énonciation”(V, 473); toute signification n’est qu’une traduction d’un signe dans un autre système de signes” (IV, 127). Peirce met en lumière la faculté de tout signe d’être traduisible en une série infinite d’autres signes qui à certains égards se trouvent mutuellement équivalents (II, 293). D’après cette théorie le signe n’exige rien d’autre que la possibilité d’être appréhendé même en l’absence d’un destinateur. Par conséquent les symptômes des maladies sont également considérés comme signes (VIII, 185, 335) et à un certain point la séméiologie médicale confine à la sémiotique, science des signes. Malgré toutes les différences dans les détails de la présentation, la bipartition du signe en deux faces conjointes, et en particulier la tradition stoïcienne qui conçoit le signe (σημείον) comme un renvoi de la part du signifiant (σημαίνον) au signifié (δημιανδμενον), reste en vigueur dans la doctrine de Peirce. Conformément à sa trichotomie des modes sémiotiques et aux noms assez vagues qu’il leur donne, (1) l’index est un renvoi du signifiant au signifié en vertu d’une contiguïté effective; (2) L’icône est un renvoi du signifiant au signifié en vertu d’une similarité effective; (3) le ‘symbole’ est un renvoi du signifiant au signifié en vertu d’une contiguïté assignée (imputed), conventionnelle, habituelle. Suivant cet enseignement (cf. en particulier II, 249, 292, sq., 201, et IV, 447 sq., 537) “the mode of being the symbol is different from that of the icon and from that of the

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 271 ______index.” A l’opposé de ces deux catégories, le symbole comme tel n’est pas un objet; ce n’est rien qu’un pur règlement qu’on doit nettement distinguer de sa mise en oeuvre sous forme de ‘répliques’ ou ‘examples’ (replicas, instances), comme Peirce essaye de les désigner. L’élucidation du caractère générique propre aux signifiants ainsi qu’aux signifiés dans le code de la langue (chacun de ces aspects “is a kind and not a single thing”) a ouvert de nouvelles perspectives à l’étude sémiotique du langage. Or la trichotomie en question a aussi donné lieu a des vues erronées. On a voulu attribuer à Peirce l’idée de la division de tous les signes humains en trois classes rigoureusement séparées, alors que l’auteur n’envisage que trois modes dont celui qui prédomine (“is predominant over the other”) dans un système donné se trouve néanmoins maintes fois réuni avec l’un ou les deux autres modes. Par exemple, “a symbol may have an icon or an index incorporated into it”(IV, 447). “It is frequently desirable that a representamen should exercise one of those three functions to the exclusion of the other two, or two of them to the exclusion of the third; but the most perfect of signs are those in which the iconic, indicative, and symbolic characters are blended as equally as possible” (IV, 448). “It would be difficult if not impossible, to instance an absolutely pure index, or to find any sign absolutely devoid of the indexical quality”(II, 306). “A diagram, though it will ordinarily have Symbolide Features, as well as features approaching the nature of Indices, is nevertheless in the main an Icon”(IV, 531). Dans ses tentatives successives pour établir une classification complète des phénomènes sémiotiques, Peirce a fini par esquisser une table comportant 66 divisions et subdivisions (v. Lieb 1953: 51-55), qui cherche à

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 272 ______embrasser l’action “of almost any kind of sign” connue sous le nom antique de σημείωσίς. Le langage ordinaire et les diverses espèces des langues formalisées trouvent leur place dans la sémiotique de Peirce qui met en relief non seulement la primauté du rapport symbolique entre le signifiant et le signifié dans les données linguistiques en même temps la coprésence du rapport iconique et indiciel.

7. La contribution apportée par Ferdinand de Saussure au progrès des études sémiotiques est évidemment plus modeste et plus restreinte. Son attitude envers la “science des signes” et le nom ‘sémiologie’ (ou sporadiquement ‘signologie’; cf. 1974: 47 sq.) que, d’emblée, il lui imposa restent manifestement extérieurs au grand courtant marqué par les noms de Locke, Lambert, Bolzano, Peirce et Husserl. On peut douter qu’il ait même connu leurs recherches sémiotiques. Quoit qu’il en soit, dans ses leçons, il se demande: “Pourquoi la sémiologie n’a-t-elle pas existé jusqu’ici? (1967: 52). La question du précédent qui a pu inspirer le programme dressé par Saussure reste en suspens. Ses idées sur la science des signes ne nous sont parvenues que dans quelques notes éparses, dont les plus anciennes remontent aux années quatre-vingt-dix (Godel 1957: 275), et dans les deux derniers de ses trois cours de linguistique générale (Saussure 1967: 33, 45-52, 153-155, 170 sq.). Depuis la fin du siècle, Saussure chercha à prendre, selon ses propres termes, “une juste idée de ce qu’est un système sémiologique (Godel 1957: 49) et à découvrir les traits “de la langue, comme de tout système sémiologique en général” (Saussure 1954: 71), en

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 273 ______pensant avant tout aux systèmes de ‘signes conventionnels’. Les plus anciennes parmi les remarques de Saussure sur la théorie des signes cherchent à appliquer celle-ci au niveau phonique du langage, et, avec une netteté supérieure à la façon dont la même matière est traitée dans son enseignement ultérieur, ces thèses font ressortir “le rapport entre le son et l’idée, la valeur sémiologique du phonème [qui] peut et doit s’étudier en dehors de toute préoccupation historique, [puisque] l’étude sur le même plan d’un état de langue est parfaitement justifiée (et même nécessaire quoique négligée et méconnue) quand il s’agit de faits sémiologiques”(Jakobson 1973a: 294). L’équation “Phonème = Valeur sémiologique” est placée en tête de la ‘phonétique sémiologique’, nouvelle discipline envisagée par Saussure au début de ses activités à l’Université de Genève (ibid. 202 et 294). La seule mention des idées sémiologiques de Saussure parue pendant sa vie est un très bref sommaire qu’en a fait son parent et collègue Ad. Naville dans un livre de 1901 (ch. V). Le texte du Cours de linguistique générale, publié en 1916 par Charles Bally et Albert Sechehaye à partir des notes prises par les auditeurs de Saussure, est tellement remanié et retouché par les rédacteurs qu’il cause pas mal de bévues sur l’enseignement du maître. Or à présent, grâce à la belle édition critique de Rudolf Engler (Saussure 1967), nous sommes en mesure de comparer les témoignages directs des étudiants de Saussure et de nous faire une idée beaucoup plus précise et véridique du texte original de ses leçons. Contrairement à Peirce et à Husseri, tous deux conscients d’avoir jeté les fondements de la sémiotique, Saussure ne parle de la sémiologie qu’au futur. Suivant les notes des cours professés par Saussure de 1908 à 1911 et recueillis par plusieurs étudiants

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 274 ______

(1967, p. XI), la langue est pour lui avant tout un système de signes, et par conséquent il faut la classer dans la science des signes qui n’est guère encore développée (ibid. p. 47). Saussure propose de l’appeler ‘sémiologie’ (du grec σημεῖον ‘signe’). On ne peut dire ce que sera cette science des signes, mais il nous appartient de dire qu’elle est digne d’exister et que la linguistique occupera le compartiment principal de cette science; “ce sera un cas particulier du grand fait sémiologique”(p. 48). Ce sera aux linguistes de distinguer les caractères sémiologiques de la langue pour trouver sa place parmi les systèmes de signes (p. 49); la tâche de la nouvelle science sera, quant à elle, de marquer les différences entre ces divers systèmes ainsi que leurs caractères communs. Il y aura des lois générales de la sémiologie” (p.47). Saussure souligne alors que la langue est loin d’être le seul système de signes. Il en existe beaucoup d’autres: l’écriture, les signaux maritimes visuels et ceux des trompettes militaires, les gestes de politesse, les cérémonies et les ensembles des rites (p. 46 sq); et aux yeux de Saussure, “les coutumes ont un caractère sémiologique” (p. 154)… Les lois de transformation de ces systèmes de signes auront des analogies tout à fait topiques avec les lois de transformation de la langue et, d’autre part, elles nous révèleront des différences énormes (pp. 45, 49). Saussure envisage ensuite certaines dissemblances dans la nature des signes divers et dans leur valeur social: le facteur personnel ou impersonnel, l’acte réfléchi ou inconscient, la dépendance ou l’indépendance vis-à-vis de la volonté individuelle ou sociale, l’ubiquité ou la modicité. Si l’on compare les divers systèmes de signes avec la langue, on verra apparaître, selon Saussure, des aspects que l’on n’avait pas soupçonnés,

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 275 ______en étudiant les rites ou tout autre système séparément, et l’on verra que tous ces systèmes rentrent dans une étude commune, celle de la vie particulière des signes, la sémiologie (p. 51). D’après la thèse soutenue par Saussure, depuis ses préparatifs de 1894 pour une étude inachevée sur William Dwight Whitney (citée par Jakobson 1973a: 279 sq.), “le langage n’est rien de plus qu’un cas particulier de la Théorie des Signes” et “ce sera la réaction capitale de l’étude du langage dans la théorie des signes, ce sera l’horizon à jamais nouveau qu’elle aura ouvert, que de lui avoir appris et révélé tout un côté nouveau du signe, à savoir que celui-ci ne commence à être réellement connu que quand on a vu qu’il est une chose non seulement transmissible, mais de sa nature destiné à être transmis” (donc, dans les termes de Peirce, exigeant la participation d’un ‘interpreter’). Or Saussure oppose en même temps la “complexe nature de la sémiologie particulière dite langage”(loc. cit’) aux autres institutions sémiologiques. Selon la doctrine saussurienne, celles-ci emploient des signes qui ont au moins un rudiment de lien évocateur entre le signifié et le significant, ‘icônes’ dans la nonenclature de Peirce, ‘symboles’, comme les désigneront plus tard les Cours de Saussure: “Le symbole est un signe, mais jamais tout à fait arbitraire” (1967: 155). Au contraire, le langage est “un système de symboles indépendants”. C’est ainsi qu’en 1894 Saussure nommait les signes purement conventionnels et dans ce sens ‘arbitraires’: ceux que Peirce appelait ‘symboles’(ou legisigns). Les ‘symboles indépendants’, nous dit Saussure dans ses anciennes notes, “ont ce caractère capital de n’avoir aucune espèce de lien visible avec l’objet à désigner”. Il en résulte “que quiconque pose le pied sur le terrain de la langue peut

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 276 ______se dire qu’il est abandonné par toutes les analogies du ciel et de la terre” (1954: 279 sq). Bien que Saussure soit enclin à voir dans les “systèmes arbitraires” le ressort premier de la sémiologie, cette science ― déclare-t-il ― verra son domaine s’étendre toujours davantage, et il est difficile de dire d’avance où elle s’arrêtera (ibid. 153 sq.). La ‘grammaire’ du jeu d’échecs avec la valeur respective de ses pièces autorise Saussure à comparer le jeu et la langue et à conclure que dans ces systèmes sémiologiques “la notion d’identité se confond avec celle de valeur et réciproquement” (ibid. 249). Ce sont précisément les questions conjointes des identités et des valeurs qui, d’après une note acérée prise par Saussure au début du siècle, s’avèrent décisives pour les études du mythe, comme pour “le domaine parent de la linguistique”: sur le plan de la sémiologie “toutes les incongruités de la pensée proviennent d’une insuffisante réflexion sur ce qu’est l’identité ou les caractères de l’identité, lorsqu’il s’agit d’un être inexistant, comme le mot, ou la personne mythique, ou une lettre de l’alphabet, qui ne sont que différentes formes du signe, au sens philosophique”(Saussure 1972: 275). “Ces symboles, sans qu’ils s’en doutent, sont soumis aux mêmes vicissitudes et aux mêmes lois que toutes les autres séries de symboles (…) ― Ils font tous partie de la sémiologie” (Starobinski 1972: 15). L’idée de l’être sémiologique qui n’existe en soi “à nul moment” (1972: 277) est reprise par Saussure dans son cours de 1908-1909 où il proclame “la détermination réciproque des valeurs par leur coexistence”, en ajoutant qu’il n’y a pas d’êtres sémiologiques isolés (1967: 50) et que cette détermination n’a lieu que sur le plan synchronique, “car un système de valeurs ne peut être à cheval sur une succession d’époques”(p. 304).

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 277 ______

Les principes sémiotiques de Saussure au cours des vingt dernières années de sa vie font preuve d’une constance frappante. Ses ébauches de 1894, citées ci-dessus, s’ouvrent sur une assertion inflexible: “L’objet qui sert de signe n’est jamais ‘le même’ deux fois: il faut dès le premier moment un examen ou une convention initiale pour savoir au nom de quoi [et] dans quelles limites nous avons le droit de l’appeler le même; là est la fondamentale différence avec un objet quelconque” (p. 280). Ces notes insistent sur le rôle décisif du “plexus de différences éternellement négatives”, le principe ultime de la non-coïncidence dans le monde des valeurs sémiologiques. En abordant les systèmes sémiologiques, Saussure cherche à “faire abstraction de ce qui a précédé”, et dès 1894 il recourt volontiers aux comparaisons entre les états synchroniques dans la langue et sur l’échiquier. La question “du caractère antihistorique du langage” (p. 282) et, pourrait-on ajouter, à toutes ses délibérations sur l’aspect sémiologique de la langue. Ce sont ces deux principes entrelacés de la linguistique Saussurienne ― “L’arbitraire du signe” et la conception obstinément ‘statique’ du système ― qui ont failli entraver le développement de la ‘sémiologie générale’ anticipée et souhaitée par le maître (cf. 1967: 170 sq.). Or l’idée vitale de l’invariance sémiologique, qui reste en vigueur à travers toutes les variations circonstancielles et individuelles, est mise en lumière par Saussure à l’aide d’une heureuse comparaison de la langue à une symphonie: l’oeuvre musicale est une réalité existant indépendamment de la variété des exécutions qui en sont faites: “elles n’atteignent pas l’oeuvre elle-même.” “L’exécution du signe n’en est pas le caractère essentiel,” comme nous le fait remarquer Saussure; “l’exécution d’une sonate de Beethoven

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 278 ______n’est pas la sonate elle-même” (1967: 50, 53 sq.). On retrouve ici le rapport entre la ‘langue’ et la ‘parole’ et la relation analogue entre l’uniformité de l’oeuvre et la multiplicité de ses interprétations individuelles. C’est à tort que dans le texte arrangé par Bally et Séchehaye ces dermières sont traitées comme des “fautes que peuvent commettre” les exécutants. Saussure a dû croire que dans la sémiologie les signes ‘arbitraires’ allaient occuper une place fondamentale, mais c’est en vain qu’on chercherait dans les notes de ses étudiants l’assertion que lui prête le texte de Bally et Séchehaye, à savoir que “les signes entièrement arbitraires réalisent mieux que les autres l’idéal du procédé sémiologique”(ibid. p. 154). Dans sa vue expansionniste de la science en devenir Saussure va même jusqu’à admettre que “tout ce qui comprend des formes doit entrer dans la sémiologie” (loc. cit.) Cette suggestion semble anticiper l’idée actuelle du topologue René Thom, qui se demande s’il ne faut pas, d’emblée, chercher à développer une “théorie générale des formes indépendante de la nature spécifique de l’espace substrat”(1974: 244 sq.).

8. Le rapport de la science du langage et des langues à celle du signe et des signes divers a été brièvement et explicitement défini par le philosophe Ernst Cassirer dans son allocution au Cercle Linguistique de New York: “Linguistics is a part of semiotics” (1945: 155). II n’y a aucun doute que les signes appartiennent à un domaine qui se distingue à certains égards de tous les autres faits de notre entourage. Tous les secteurs de ce domaine

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 279 ______demandent à être explorés en tenant compte de leurs caractères génériques et des convergences et divergences entre les diverses variétés de signes. Toute tentative pour restreindre les limites des recherches sémiotiques et en exclure certains types de signes menace de dédoubler la science des signes en deux disciplines homonymes, notamment la ‘sémiotique’ dans la plus large acception du mot et une autre province du même nom mais cette fois pros dans son acception restreinte. Par exemple, on voudrait promouvoir en une science particulière l’étude des signes dits ‘arbitraires’, tels que le sont, à ce que l’on enseigne, ceux de la langue (bien que les symboles linguistiques, comme Peirce l’a fait voir, se trouvent aisément apparentés à l’icône ou à l’index). Ceux qui considèrent le système des signes de la langue comme le seul ensemble digne d’être l’objet de la science des signes commettent une pétition de principe: l’égocentrisme des linguistes qui tiennent à exclure de la sphère sémiotique les signes organisés de façon différente que ne le sont ceux de la langue réduit en fait la sémiotique à un simple synonyme de la linguistique. Mais les tentatives pour restreindre l’étendue de la sémiotique vont parfois encore plus loin. A tous les niveaux et sous tous les aspects du langage le rapport réciproque entre les deux faces du signe, le signifiant et le signifié, reste en vigueur, mais il est évident que le caractère du signifié et la structuration du signifiant changent suivant le niveau du phénomène linguistique. Le rôle privilégié de l’oreille droite (et celui de l’hémisphère gauche du cerveau) dans la perception des sons du langage est une manifestation primaire de leur valeur sémiotique, et toutes les composantes phoniques (que ce soient des traits

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 280 ______distinctifs, démarcatifs ou stylistiques ou même des éléments strictement redondants) fonctionnent comme signes pertinents, munis chacun de son propre signifié. Chaque niveau supérieur apporte de nouvelles particularités de signifiance: elles changent substantiellement en montant l’échelle qui mène du phonème au morphème et de là aux mots (avec toute leur hiérarchie grammaticale et lexicale) pour passer ensuite par divers niveaux de structures syntaxiques jusqu’à la phrase, puis au groupement des phrases dans l’énoncé et finalement à la séquence des énoncés dans le dialogue. Chacune de ces étapes successives est caractérisée par ses propriétés nettes et spécifiques et par le degré de sa soumission aux règles du code et aux exigences du contexte. En même temps chacune de ses parties prend dans la mesure de possible part à la significance du tout. La question de savoir ce que signifie un morphème, un mot, une phrase ou un énoncé donné est également valable pour toutes ces unités. La complexité relative de signes tels qu’une période syntaxique, un monologue ou un entretien ne change rien an fait que, nécessairement et dans n’importe quel phénomène du langage, tout est signe. Du trait distinctif jusqu’au tout du discours, les entités linguistiques, malgré leurs différences de structure, de fonction et d’envergure, restent toutes soumises à une science commune et unique, celle des signes. C’est également à la sémiotique qu’appartient l’étude comparée du langage ordinaire et des langues formalisées, et avant tout celles de la logique et des mathématiques. Ici l’analyse des divers rapports entre le code et le contexte nous ont déjà ouvert de vastes perspectives. D’autre part la confrontation de la langue avec ‘les structures modelantes

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 281 ______secondaires’ et particulièrement avec la mythologie nous a déjà valu une riche moisson et appelle les esprits hardis à entreprendre un travail analogue qui embrasserait toute la sémiotique de la culture. Dans les recherches sémiotiques qui abordent les questions de langage on devra prendre garde à ne pas attribuer imprudemment des caractères spéciaux de la langue aux autres systèmes sémiotiques. En même temps, on se gardera d’ôter à la sémiotique l’étude des systèmes de signes qui ont peu de ressemblance avec la langue et de poursuivre cette action d’ostracisme jusqu’à déceler une couche prétendument ‘non-sémiotique’ dans le langage même.

9. L’art a longtemps échappé à l’analyse sémiotique. II est cependant hors de doute que tous les arts, qu’ils soient essentiellement temporels comme la musique et la poésie, ou foncièrement spatiaux comme la peinture et la sculpture, ou encore syncrétiques, spatio- temporels, comme le sont les spectacles de théâtre, de cirque ou de cinéma, ont tous trait au signe. Parler de la ‘grammaire’ d’un art n’est pas faire usage d’une métaphore oiseuse: c’est que tout art implique une organisation des catégories polaires et signifiantes fondées sur une opposition de termes marqués et non-marqués. Tout art est lié à un ensemble de conventions artistiques. Les unes sont générales; tel est par le nombre des coordonnées qui sert de base aux arts plastiques et crée une distinction grosse de conséquences entre le tableau et la statue. D’autres conventions, importantes ou même obligatoires pour l’artiste et pour les destinataires immédiats de son œuvre, sont imposées par le style du pays et de

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 282 ______l’époque. L’originalité de l’œuvre se trouve restreinte par le code artistique qui domine à l’époque donnée et dans la société donnée. La révolte de l’artiste, autant que la fidélité envers certaines règles requises, est conçue par les contemporains en fonction du code que le novateur entend ébranler. Les tentatives pour confronter les arts au langage sont susceptibles d’échouer si cette étude comparée recourt à la langue ordinaire et non directement à l’art verbal qui en est un système transformé. Les signes d’un art donné peuvent porter l’empreinte de chacun des trois modes sémiotiques décrits par Peirce; ainsi ils peuvent s’approcher du ‘symbole’, de l’ ‘icône’ et de l’ ‘index’, mais c’est avant tout sur leur caractère artistique que se fonde, cela va de soi, leur propre signifiance (σημєίωσιζ). En quoi consiste ce caractère particulier? La réponse la plus nette à cette question fut donnée en 1865 par un jeune collégien Gerard Manley Hopkins: “The artificial part of poetry, perhaps we shall be right to say all artifice, reduces itself to the principle of parallelism. The structure of poetry is that of continuous parallelism” (p. 84). L’ ‘artifice’ vient s’ajouter à la triade des modes sémiotiques établie par Peirce. Cette triade se fonde sur deux oppositions binaires: contigu/similaire et effectif/ imposé (imputed). La contiguité des deux composantes du signe est effective dans l’ ‘index’ mais imposée dans le ‘symbole’. Or la similitude effective qui est propre à l’ ‘icône’ trouve son corrélatif logiquement prévisible dans la similitude imposée qui spécifie l’ ‘artifice’ et c’est à juste titre que ce dernier prend place dans l’ensemble désormais quaternaire des modes

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 283 ______sémiotiques. Tout signe est un renvoi (suivant la fameuse formule aliquid stat pro aliquo). Le parallélisme, évoqué par un maître et théoricien de la poésie tel que Hopkins, est un renvoi d’un signe à un autre similaire dans sa totalité ou au moins dans l’une de deux faces (le signifiant ou le signifié). L’un des deux signes ‘correspectifs’, ainsi que les désigne Saussure (Starobinski 1971: 34), renvoie à un autre, présent dans le même contexte ou sous-entendu, comme nous le révèlent les cas de métaphore où seul le ‘vehicule’ est in praesentia. Le seul écrit accompli de Saussure au cours de son professorat genevois, un travail clairvoyant sur “le souci de la repetition” dans les littératures anciennes, aurait pu innover la science mondiale de la poétique mais il fut indûment dissimulé et même aujourd’hui les cent quarante cahiers de cette œuvre fouillée, vieille de sept dizaines d’années, ne nous sont connus que par les citations fascinantes de Jean Starobinski. Cet ouvrage fait ressortir “la couplaison’, c’est-à-dire la répétition en nombre pair” dans la poésie indo-européenne, qui se livre à l’analyse de “la substance phonique des mots, soit pour en faire des séries acoustiques (par exemple, une voyelle qui exige sa ‘contre- voyelle’), soit pour en faire des séries significatives” (ibid. 21 et 31 sqq.). En s’évertuant à coupler des signes qui “se trouvent naturellement s’appeler l’un l’autre” (p. 55), les poètes ont dû maîtriser le ‘squelette du code’ traditionnel et maîtriser d’abord les règles sévères de la similitude convenue, y compris les licences admises (ou, comme le formule Saussure, la ‘transaction’ sur certaines variables), ensuite les lois de répartition paire des unités correspondantes tout au long du texte, puis enfin l’ordre (‘consécutivité’ ou ‘non-

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 284 ______consécutivité’) imposé aux éléments réitératifs par rapport à la marche du temps (p. 47). Le ‘parallélisme’ en tant que trait caractéristique de tout artifice est le renvoi d’un fait sémiotique à un fait équivalent à l’intérieur du même contexte, y compris les cas où le dessein du renvoi n’est qu’un sous-entendu elliptique. Cette appartenance infaillible des deux parallèles au même contexte nous permet de compléter le système des temps dont Peirce munit sa triade sémiotique: “An icon has such being as belongs to past experience (...) An index has the being of present experience. The being of a symbol (...) is esse in futuro (IV, 447; II, 148). L’artifice garde l’inter-connection intemporelle des deux parallèles à l’intérieur de leur contexte commun. Stravinsky ne se lassait pas de répéter que “la musique est dominée par le principe de la similarité”. Dans l’art musical les correspondances des éléments reconnus dans une convention donnée comme mutuellement équivalents ou comme opposés constituent la principale, sinon la seule valeur sémiotique “intramusical embodied meaning”, selon la description qu’en fait le musicologue Leonard Meyer: “Within the context of a particular musical style one tone or group of tones indicates — leads the practiced listener to expect — that another tone or group of tones will be forthcoming at some more or less specified point in the musical continuum” (1967: 6 sq.). Le renvoi à ce qui suit est senti par les compositeurs comme l’essence du signe musical. Aux yeux d’Arnold Schönberg, “komponieren heisst einen Blick in die Sukunft des Themas werfen” (s. j. Maegaard). Les trois opérations fondamentales de l’ ‘artifice’ musical — l’anticipation, la rétrospection et l’intégration — nous rappellent que c’est l’étude d’une phrase mélodique entreprise en

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 285 ______

1890 par Ehrenfels qui lui suggéra la notion de ‘Gestalt’ et une introduction précise à l’analyse des signes musicaux: “Bei zeitlichen Gestaltqualitäten kann folgerichtig höchstens ein Element in Wahrnehmungsvorstellungen gegeben sein, während die übrigen als Erinnerungs- (oder als auf die Zukunft gerichtete Erwartungs-) Bilder vorliegen” (p. 263 sq.). Si dans la musique les questions de rapports intrinsèques prévalent sur les tendances d’ordre iconique et sont à même de les réduire à néant, la fonction représentative prend en revanche aisément le dessus dans l’histoire des arts visuels, nécessairement spatiaux (cf. Jakobson 1973a: 164 sqq.). Néanmoins l’existence et les grandes réussites de la peinture abstraite sont un fait péremptoire. Les ‘responsions’ entre les diverses catégories chromatiques et géométriques qui, cela va sans dire, jouent aussi un rôle imprescriptible dans la peinture représentative, deviennent la seule valeur sémiotique de l’art abstrait. Les lois d’opposition et d’équivalence qui gouvernent le système des catégories spatiales mis en oeuvre dans la peinture offrent l’exemple éloquent des similitudes imposées par le code de l’école, de l’époque, du pays. Or évidemment, comme c’est le cas dans tous les systèmes sémiotiques, la convention se fonde sur l’emploi et le choix des potentialités perceptives universelles. Au lieu de la succession temporelle qui inspire à l’auditeur de phrases musicales ses anticipations et ses rétrospections, la peinture abstraite nous fait voir une simultanéité des ‘correspectifs’ conjugés et entrelacés. Le renvoi musical qui nous conduit du ton présent au ton attendu ou gardé dans la mémoire se trouve remplacé dans la

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 286 ______peinture abstraite par un renvoi réciproque des facteurs en jeu. Ici le rapport des parties et du tout acquiert une signifiance particulière, bien que l’idée de l’oeuvre intégrale se trouve mise en relief dans tous les arts. La manière d’être des parties révèle leur solidarité avec le tout et c’est en fonction de cet ensemble qu’apparait chacune de ses composantes. Cette interdépendance entre le tout et ses parties crée un renvoi patent des parties au tout et vice versa. On pourrait reconnaître dans ce renvoi réciproque un procédé synecdochique, suivant les définitions traditionnelles de ce trope, comme celle d’Isidorus Hispalensis: “synecdoche est conceptio, cum a parte totum vel a toto pars intellegitur” (Lausberg 1960: § 572). Bref la signifiance demeure sous-jacente à toutes les manifestations de l’ ‘artifice’.

10. A titre de résumé, on pourrait proposer une formule tautologique: la sémiotique ou, autrement dit, la science du signe et des signes, science of signs, Zeichenlehre, a le droit et le devoir d’étudier la structure de tous les types et systèmes de signes et d’éclaircir leurs divers rapports hiérarchiques, le réseau de leurs fonctions et les propriétés communes ou divergentes de tous les systèmes en question. La diversité des rapports entre le code et le message ou entre le signifiant et le signifié ne justifie nullement les tentatives individuelles et arbitraires pour exclure de l’étude sémiotique certaines classes de signes, tels que les signes non-arbitraires et ceux qui, ayant évité “l’épreuve de la socialization”, restent individuel à un certain degré. La sémiotique, du fait même qu’elle est la science des signes, est appellée à englober toutes les variétés du signum.

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Appendix Three

. . . The Times of London, Tuesday May 7 2013

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 288 ______

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 289 ______

We have so far published in this James Joyce Lexicography Series:

Volume: Title: Number Launched on: of Pages:

Vol. 1. The Romanian Lexicon of Finnegans Wake. 455pp 11 November 2011 http://editura.mttlc.ro/sandulescu.lexicon-of-romanian-in-FW.html

Vol. 2. Helmut Bonheim’s German Lexicon of Finnegans Wake. 217pp 7 December 2011 http://editura.mttlc.ro/Helmut.Bonheim-Lexicon-of-the-German-in-FW.html

Vol. 3. A Lexicon of Common Scandinavian in Finnegans Wake. 195pp 13 January 2012 http://editura.mttlc.ro/C-G.Sandulescu-A-Lexicon-of-Common-Scandinavian-in- FW.html

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 290 ______

Vol. 4. A Lexicon of Allusions and Motifs in Finnegans Wake. 263pp 11 February 2012 http://editura.mttlc.ro/G.Sandulescu-Lexicon-of-Allusions-and- Motifs-in-FW.html

Vol. 5. A Lexicon of “Small” Languages in Finnegans Wake. 237pp 7 March 2012 Dedicated to Stephen J. Joyce. http://editura.mttlc.ro/sandulescu-small-languages-fw.html

Vol. 6. A Total Lexicon of Part Four of Finnegans Wake. 411pp 31 March 2012 http://editura.mttlc.ro/sandulescu-total-lexicon-fw.html

Vol. 7. UnEnglish English in Finnegans Wake. The First Hundred 453pp 27 April 2012 Pages. Pages 003 to 103. Dedicated to Clive Hart. http://editura.mttlc.ro/sandulescu-unenglish-fw-volume-one.html

Vol. 8. UnEnglish English in Finnegans Wake. The Second Hundred 280pp 14 May 2012 Pages. Pages 104 to 216.

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 291 ______

http://editura.mttlc.ro/sandulescu-unenglish-fw-volume-two.html

Vol. 9. UnEnglish English in Finnegans Wake. Part Two of the Book. 516pp 7 June 2012 Pages 219 to 399. http://editura.mttlc.ro/sandulescu-unenglish-fw-volume-three.html

Vol. 11. Literary Allusions in Finnegans Wake. 327pp 23 July 2012 Dedicated to the Memory of Anthony Burgess. http://editura.mttlc.ro/sandulescu-literary-allusions.html

Vol. 12. Finnegans Wake Motifs I. The First 186 Motifs from Letter A 348pp 7 September 2012 to Letter F.

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 292 ______

http://editura.mttlc.ro/sandulescu-finnegans-wake-motifs-1.html

Vol. 13. Finnegans Wake Motifs II. The Middle 286 Motifs from 458pp 7 September 2012 Letter F to Letter P. http://editura.mttlc.ro/sandulescu-finnegans-wake-motifs-2.html

Vol. 14. Finnegans Wake Motifs III. The Last 151 Motifs. from Letter 310pp 7 September 2012 Q to the end. http://editura.mttlc.ro/sandulescu-finnegans-wake-motifs-3.html

Vol. 15. Finnegans Wake without Tears. The Honuphrius & A Few 248pp 7 November 2012 other Interludes, paraphrased for the UnEducated. http://editura.mttlc.ro/sandulescu-the-honuphrius.html

Vol. 16. Joyce’s Dublin English in the Wake. 255pp 29 November 2012 http://editura.mttlc.ro/sandulescu-dublin-english.html

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 293 ______

Vol. 17. Adaline Glasheen’s Third Census Linearized: A Grid. FW Part 269pp 15 April 2013 One A. http://editura.mttlc.ro/sandulescu-third-census-one-a.html

Vol. 18. Adaline Glasheen’s Third Census Linearized: A Grid. FW Part 241pp 15 April 2013 One B. http://editura.mttlc.ro/sandulescu-third-census-one-b.html

Vol. 19. Adaline Glasheen’s Third Census Linearized: A Grid. FW Part 466pp 15 April 2013 Two. http://editura.mttlc.ro/sandulescu-third-census-two.html

Vol. 20. Adaline Glasheen’s Third Census Linearized: A Grid. FW Parts 522pp 15 April 2013 Three and Four. http://editura.mttlc.ro/sandulescu-third-census-three-four.html

Vol. 21. Musical Allusions in Finnegans Wake. FW Part One. All 333pp 10 May 2013

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 294 ______

Exemplified. http://editura.mttlc.ro/sandulescu-musical-allusions.html

Vol. 22. Musical Allusions in Finnegans Wake. FW Part Two. All Exemplified. http://editura.mttlc.ro/sandulescu-musical-allusions.html 295pp 10 May 2013

Vol. 23. Musical Allusions in Finnegans Wake. FW Parts Three and Four. All Exemplified. http://editura.mttlc.ro/sandulescu-musical-allusions.html 305pp 10 May 2013

You are kindly asked to address your comments, suggestions, and criticism to the Publisher: [email protected]

C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 295 ______